Frequency Bone

TEACHER'S LOG, SCHOOL DATE 1-21-12

2012-01-21T23:33:00.003-05:00

Expansion of sound exercise

1. Play a comfortable note.

2. Feel the note resonate in your feet.

3. Then continue that feeling all the way up to the top of your head.

4. Feel your whole body resonate with that note.

5. Then expand that feeling of resonance all around you as if that resonance IS your body.

6. Keep going a bit at a time, expanding inch by inch with your 'sonic body' expanding until it fills the whole room you are in. Until the whole room IS your 'sonic body.'

7. This can continue until it goes outside of the room. But the room is a good place to start!

Try it on different notes, just for 5 or so minutes a day.

Then start using it on solos or certain excerpts.

** Make sure to really fill ALL PARTS of your body with the sound. From the back of your head, to your armpits and all the way to the soles of your feet. Even your hands and in between your fingers. (Knee caps too!). It will open up all sorts of things about resonance, your body, air and more!

TEACHER'S LOG, SCHOOL DATE 1-8-12

2012-01-08T23:03:00.005-05:00

yes and NO

There are many ways that one can hear music or make music. The other day I was talking to the NEC Prep Trombone Choir and brought up how music can be saying yes or no. I had them say yes and no and there was not a lot of difference! This was interesting to me because there can be a huge difference depending on the reason it is being said and the emotional content and context behind it. As everyone has experienced in their own life, there are many ways to express yes and no. Since music can be the vehicle for such a wide range of expression and communication, I personally find it useful, insightful and fun to take something as natural and as seemingly simple as yes and no and listen to music with that mindset.

I told the students about the time I was on a school bus in 8th grade and not feeling very well at all! The bus was angled down a hill and was also coming to a very slow stop with a lot of jerks. I thought I was really going to loose my cookies in front of all my classmates which really upped the anxiety! Then suddenly, I started to think of the opening of Beethoven's 5th Symphony. Da da da daaaaa! Da da da daaaaaaaa! I got so absorbed in it that I lost touch with my nauseated stomach and kept singing that first movement. By the time the school bus got to school I felt great! No lost cookies! That really started to confirm to me how powerful music can be to change a physical and mental state. From that point on, I always refer to that first movement of the Beethoven's 5th, the NO Symphony. NO NO NO NOOOOOOO! That first movement can also strengthen will power. It certainly did mine!

So, why not try an experiment and listen to music and feel the 'yes and no' and where plus how it transitions to the other. You will learn a lot about phrasing and what the music might be saying that you never heard before. I wonder who wrote some maybe symphonies????

Happy New Year

2012-01-05T11:26:00.003-05:00

Happy New Year to all who read my blog.

A year is new for sure. It is an orbit around the sun. Each day is new. Since I started this post we have moved hundreds of miles in space. In fact the whole galaxy has moved. Many new cells have been born and many have died. Life is always moving. In light of that Truth, isn't it amazing how we can get mentally and emotionally stuck? So the New Year is as new to us as we are new to each moment.

I try to accept each day as new and unique. I put this into my playing even though my warm up is basically the 'same.' It might be the same but it is different each day. Bringing our mind and feelings into a slightly different angle each day can help and refresh our perceptions and have more appreciation for our opportunities that we are constantly surrounded by if only we could see them.

Try this: Take one aspect of your playing, and just feel it and observe it. Not overly think it, just feel and observe it. Get really into it. Take a few notes on what you are noticing and feeling. Even be aware of your mental judgement. Write it all down. Then read it a bit later. See how you feel and think after you read it later and write that down. You will discover lots..

Happy New Moment!

TEACHER'S LOG, SCHOOL DATE 12-30-11

2011-12-30T22:17:00.004-05:00

I thought this might be a good way to end the Teacher's Log for this semester and the last post on the blog for 2011. It was a poem I sent to all my students at the end of the semester who are in my studio at New England Conservatory, New England Conservatory Prep Division, The Boston Conservatory and Longy School of Music. I hope there is something in it for everyone. I wish you all a Happy, Healthy and Meaningful New Year!

Dear Students,

As the semester comes to a close,
realize that there is a chance to recompose
In the midst of your holiday cheer
I hope you find time to strengthen your possible careers

By practicing those things you know you ought
To enjoy the wonderful opportunity you've got

Dig into your Art
It's there for you
Waiting for the moment you say "I do"

It is a marriage of you to It and It to you
But it needs your Love, Devotion and Passion too

It cannot do it on It's own
It gave you talent at the get go

But now you need to activate it
otherwise your talent will only be latent

Jump on board and sail full steam ahead
Drop your fear, it's all in your head!

I know you can if you really want It
It needs you.. a lot.. more than you know..

It's not about a job as the first important thing
It's you providing It with a way to be free

You are important, never doubt that
I'm on your side, always hoping for your best!

My very best wishes to you all!

Mr. Bolter
Mr. B
Norman
but NEVER Norm :-)

TEACHER'S LOG, SCHOOL DATE 12-20-11

2011-12-20T21:46:00.003-05:00

What is Best for the Students?

In a conversation with someone recently, they told me they just want to do what's best for the students. I immediately thought to myself. " What is BEST for the students? A good question to ask that takes some probing to come up with some insightful answers.

I think the first thing to clarify is, what is a student? To me, the student is a person that is interested in a learning process that has it's goal developing a skill or gaining knowledge that will be used for a productive purpose in their life or career. If it is a 'skill', it will take knowledge, experience, dedication and guidance to be achieved.The greatest driving force towards that development is the student's own passion and intensity of desire to keep going through all the various challenges they will encounter. To have all this happen, an environment of support, trust, encouragement, honesty, and friendship is very important on the personal level. The school needs to have teachers who have a high level of mastery not only with the subject matter, but with working with students

The school needs to provide an ecology which would best foster this development. But if it only has a 'manufacturing plant' mentality, then the development of the student- person, is going to be short changed and possibly suffer.

There is not a 'generic' student. What is useful for one student is not useful for others. This is where skill in teaching comes in. Not all freshman are the same, neither are all graduate students the same. Attention to the individual is important and vital in my view.

If someone is taking a class on American History, should the class be run by 5 teachers? This is a question I have about instrument classes. Do you have all the faculty contribute to the instrument class? Are tons of views good all the time? Is one view good for 6 years? It depends on certain factors. Here are a few on the private studio level.

1. Is the student and the teacher in a relationship that grows deeper on a continuing basis with noticeable quality in the students work? If so, why should the student change teachers after 2 years or 4 years if the process is really connective and continues to bear fruit?

2. If the student and teacher really cannot get along and after a period of a semester not come to any terms of agreement or mutual understanding, it seems the best thing might be for both of them to part peacefully. Private lessons are very personal and close circumstances that can become quite toxic if things get to far out of balance in a negative direction.

3. A student can be exposed to many ideas and viewpoints at school and the city they are in. If the student is really taking an active role in their own development and not just waiting for the teacher to say do this or that, they will try things, go to other workshops, concerts and master classes and naturally incorporate things into their own work.

4. I think it is important for some classes to have one teacher with guests who come in every now and then. This gives a continuity and structure to the class.

5. Private studio teachers at anytime, should feel free to give a studio class to their own students. They should not worry if the other students of the same instrument in the school are not included.

A student can learn from various teachers that are not even playing their own instrument. Learning is very dependent on the student's own curiosity, need and application of what they are given and/or observing. I notice many students going from teacher to teacher and not making lots of progress because they are not sticking to something and seeing it through. When they get bored or run into a sticky point, some like to run to a 'new' situation for the 'kick' or' high' that gives them in the beginning of doing something different. Meanwhile avoiding the very things that they probably need to work on including their attitude.

So what is BEST for the students? To be given an atmosphere and ecology that provides them the opportunity to take responsibility for their actions with excellent guidance, expertise and humanity from caring teachers. A look at the word teacher is interesting for it has the word 'heart' in it and well as the word 'care.' 'The care' is a full anagram of the word teacher.

It also needs to be said that teachers are humans too who need to be treated well. Maybe our schools need to spend more time helping people become good teachers? Just because someone has great skill and/or knowledge and a high profile job, does not mean they are good with people or really even care about the well being of a person. This kind of teacher needs to have students that are very mentally tough that can withstand a certain level of rough treatment. If the student has that nature and knowledge to get what they can from such a teacher, then it possibly will be productive for them.

In the end, it is one big process that students and teachers are in that goes way beyond learning a skill. The circumstances in a school can help one to learn about oneself, others and how to deal with different kinds of situations. Sometimes rough situations can push a person into greater depth and challenge how much they really want to pursue their chosen work no matter what the odds are.

4 years ago today....

2011-12-17T22:33:00.005-05:00

Yup. It has been 4 years since my last concert as a member of the Boston Symphony and Boston Pops Orchestras. My last concert was a Christmas Pops concert. I really did love playing principal trombone in the Pops for so many years. There was a certain freedom playing Pops as well as being very challenging.

I love the orchestral literature. It was a wonderful opportunity to play in those great orchestras. Times have changed. The whole brass section is totally different with new players and style of playing from when I joined. When I joined it was near the tail end of when the character and uniqueness of a persons playing was really important as a musical component in the ensemble. In a way, it was filled with very individual players. Maybe it wasn't a 'perfect' blend, but wow, when it was happening it was really potent!!

My life is busier in a sense now but without the 'weight' of the orchestra. I choose to play in other kinds of musical ecologies at this point in time. There is no doubt in my mind that different orchestras have different ecologies. But hearing so much of how musicians are having physical, mental and emotional tension from the job, and oftentimes have to resort to taking drugs to ease the pain of nerves, saddens me. This of course was happening when I was in the orchestra. If the ecology was different, and the humanity and going for the spirit of the music was the most important thing, there would be no need for this stress and drug taking.

The High Art of music making needs an environment that is invitational to the essence of the music and the soul of the people who are being instrumental for it's appearance. I can only hope, pray and do what I can in my own way, that the values and deeper meaning of music and human life can be the most up-front feature and this other stuff just melt away in the brightness of that TRUTH.

TEACHER'S LOG, SCHOOL DATE 12-16-11

2011-12-16T18:20:00.005-05:00

Discernment is an interesting property. This property of discernment with most people develops with age. Sometimes younger people can have quite a developed sense of differences between concepts, styles and approaches. Other people younger or older, have this concept of everything is equal or valid. Well, in my experiences and looking at things, there are VERY CLEAR DISTINCTIONS in concepts, styles and approaches. Sometimes subtle differences can be the most profound.

Oftentimes if something feels good or is easy and comfortable, it can be viewed as more favorable. The real question is, is 'real' life comfortable and easy all the time? There is a difference between stupid sacrifice and going for something you really believe in all the way, blood sweat and tears, if it is worthy.

I would hope that having an atmosphere that is clean , respectful and allowing, can be the platform for the real intense work to have a place to happen where it is supported. Making something happen is not always easy. Helping people to grow is not always fun. The attainment of our goals is only done through Love, Dedication, Passion, Effort and continued reevaluating in an upfront, allowing, but very honest way.

A great mentor of mine said, "Be your own person, but love the truth." That is a real process and a journey, to me totally worth pursuing and not always easy or comfortable.

TEACHER'S LOG, SCHOOL DATE 12-13-11

2011-12-13T20:36:00.002-05:00

Grading... for me it is actually a bit of a pain. I can't fit it into that system of letter grades. With a number system you have more spectrum but it still can't fill it out in all circumstances

What do I consider in a grade? A combination of work ethic, love of the territory (passion), talent activated and potential not realized, attitude, progress or lack there of. The other consideration I wrestle with at times is, do I compare a student to all the ones I have had to make the grade? That would lower a lot of peoples grades because I have had some pretty extraordinary students!

So now we get into levels. If someone is a freshman at a music school like a conservatory, (I know this is general), and they have a certain goal in mind, the question, is are they working at their full or close to it capacity to get that to happen? Or, what about a senior that has a terrific potential but really has not significantly improved? What about the student that maybe wasn't given a terrific first stage (the potency of the natural talent) but has worked extremely hard consistently throughout their schooling and has made very good improvement but still is 'behind' in certain areas that will hold them back in a performance career?

So the subject matter can get very complex at times, but for me, it does come down to the person owning up to the fact that they are the ones that have to work for it. Not to please me, their parents or anybody else. But for themselves because they are moved to do so from the core of themselves. Even this level has several variations to it, but effort + talent + attitude + work achieved = grade, in most cases.

TEACHER'S LOG, SCHOOL DATE 12-3-11

2011-12-03T19:25:00.016-05:00

Discipline. The crock and the flail. The yin and the yang. The allowance and the resistance. The balancing of certain apparent opposites create a gate which will cause an environment and ecology for the life to thrive in, be challenged in towards a specific target, or one that will foster anything goes without a lot of development, or one that can be harmful and choking of the life. There are also many that can form an atmosphere of varying degrees and combinations of the ones already mentioned.

When a student is singled out because of some disruptive behavior, there is a combination of feelings that happen in the ecology. If the other students are not clear why the person is being singled out, this causes confusion and uneasiness. If it is clear why the person is being singled out and reprimanded, there can be a sense of relief in the other students because they are irritated with the disruptions themselves. These are just a couple of scenarios.

To have an ecology that wants growth and development towards a specific goal, there are balances to consider. How should one behave? In the case of the student, is making regular smarty pants remarks useful? I should say not. For when remarks diffuse and make a mockery of very important points, it infects the living organism that the ecology is. The ecology is only as strong as the person who is in charge is. But what can be stronger, is an ecology that is maintained by mutual agreement from everybody involved. In this case, students and teacher.

It is important to have humanity and allowance for all sorts of things. But it is vital for a teacher to be observant of patterns that cause to disrupt for the sake of disrupting whether it is conscious or not in the student. For any environment to sustain a level of cohesiveness and provide the optimum for opportunity, inspiration and growth, basic standards are needed. The teacher needs to uphold them. Not everyone, meaning the students in this case, will be able to understand all things if they have not been in serious pursuit for a prolonged period of time and have had the chance to get experience in dealing with many situations that arise. This is where the vital A.R.T. of the student comes in which is Appreciation, Respect and Trust. The A.R T. of the teacher in this case is Accomplished, Rsponsible, Tacticis.
More on this soon..

TEACHER'S LOG, SCHOOL DATE 11-30-11

2011-11-29T22:16:00.008-05:00

The past couple of days I have been doing master classes and working with students into the area of sound. I love working with others to see what they are thinking. It is also so confirming to me how where our attention (consciousness) is located shapes the energy pathways and circuitry that become the acoustical theater of where are sound resonates into and out from.

When asked about where sound comes from or what makes our sound, most people said air. Others said the heart area. I said air needs a vibrating structure to vibrate into. This is called the embouchure. Sound consists of vibration. It is vibration. Air is the movement which moves across our lips causing them to vibrate.

Now, there are many ways to enhance and support this vibration. Here are a few:
Concept of sound
*Three dimensional sound exercises
Vowels and syllable shapes
Speed and temperature of air
Separate breathing exercises
Mouthpiece playing
Focusing the mind on different parts of the body
Posture
The nature of the vibration of the embouchure

*When people were asked about what they want in their sound, some of the words that came up were, rich, open, clear, sweet, supported, articulated, broad, relaxed, emotion. I added height, width, depth and projection. Here is where I did some experiments with three dimensional sound exercises having people focusing their minds in different directions. The results were very interesting. Some people's sounds became more alive when they thought of the sound coming from in back of themselves. Others from above their heads and others from the sides.

These are a few things that affect sound. The other one of course is the nature of the music one is playing.
I made a video this summer about playing with sound. You can play with sound like a child plays with play doh. And trying some of the various exercises expands our concept of sound and adds DIMENSION and PRESENCE to the sound.

Sound can be elastic and I understand at first students will want to get a stable and focused sound. It is important to keep in mind that stable and solid do not have to be made out of cement or steel. There are the elements to consider. Some sounds are more water in nature, others earth, others air and others fire. Of course we can all have control to incorporate them all into our music making but we will have a 'natural' inclination towards one or a combination of a couple of them.

Playing outside can be one of the great ways to work on getting a three dimensional sound. Lots of space to fill in all directions!

18 years ago today the Frequency Band came into the world!

2011-11-17T15:20:00.011-05:00

18 years ago, from 10pm to 2am on November 17th, 1993, in the chorus room of Symphony Hall in Boston, about 14 trombone players gathered not knowing what they were in for. Either did we. It was the first Frequency Band gathering to ever happen. The Frequency Band in this form, came into the world.

It would be hard to describe the night that took place in words. To say it was a venture into the unknown and yet known, would be true. To say there were atmospheres of incredible potency of ancient and never happening before appearing would be true. To say it was magical, mystical, profoundly deep would be true. To say that a great 'something else' liked it would be true. To say that it touched deep into the human enigma would be true.

So what is the Frequency Band? This is the question to 'quest on' about. It is an experience and journey into the essence of where the music comes from. It is a training into the special Arts of human life that don't get much of a chance in regular day to day life. And so much more…

The music of the first night, was written from a connection to different colors, to ancient Egypt, well being, the mystery of time and other topics. But we did not just play them. It was how we prepared and tuned ourselves to play them. It was in the integrated spirit of sentimented- technology. Technology for a very needed purpose. To help maintain in the record of human history, the importance of the living Art. As my wife and co-founder and director of the Frequency Band, Carol Viera so eloquently says, "Music is the wrapping paper for the essence that is inside of it." And "The most important instrument is the human instrument."

The Frequency Band is first and foremost a human endeavor. The first principle of the Frequency Band is a Unity Born of Humanity. The tuning is to the "A" of attitude appreciation and awe. Without this as a living fabric of the environment, the Frequency band will not appear. It will not be invited.

We don't use metronomes and tuning machines. We tune according to connection. The greater the connection the greater the tuning. The greater the tuning the greater the connection. The Spirit of the music comes first, because that is closest to the heart of the human. The human is more sensitive and powerful than any man made machine. It is a matter of education and application that activates the latent human potential that is dying to get out and be free.

I am honored and humbled to be instrument to to this very special life. May I always be tuning and fine tuning myself to be a better receptor and translator of what "It" wants.

A special thank you to all who have been a part of it in one way or another. Whether you are in a major symphony orchestra, a teacher, a free lance artist or a student, the Light shines on all. Cultural position is not the measuring stick of success in the Frequency Band. It's all in the sentimented spirit of wanting to be included and transmitting it into the world. FOR THE LOVE THAT IT SHOULD BE SO.

Greatest gratitude to the special humans and lives that influenced Carol and myself with their wisdom and love of Life. We will keep on keeping on.

TEACHER'S LOG, SCHOOL DATE 11-12-11

2011-11-12T22:01:00.010-05:00

It's amazing how much detail someone will give something technically. Some people are really geometry like in their approach to phrasing for example. That form of phrasing is mechanical if it is not empowered by another motive. Not wanting to stick out is intelligent only if it is musically based. Not wanting to stick out because one does not want to draw attention to oneself is 'safe' and certainly not always musically sound.

How much detail and specificity is put into creating the atmosphere of the piece? Not a lot generally. Tuning into the spirit of the piece and first of all discovering it does not mean one is deviating from the technique. A Mocking bird can make several sounds that are similar to other birds and animals but they are imitations. People who are knowledgable in the authentic calls of other birds can hear and/or feel the difference when the Mocking bird goes through their impressive 'list' of bird excerpts. It is the same with musicians. I sincerely hope that there will be those that can always tell the difference.

Now, having said that, there are people who genuinely play dry, others who play more wet, some who are mentally based and some who are more emotionally based. These are just a couple of examples and there are many various combinations of all of these mixed in with other variables. When it is REAL it is REAL. What is is until it is another way. My concern is this 'audition ready' government which is not where music originates from. 'Audition ready' is a skill for a commercial end. Which I know can be a very demanding 'science' and discipline. BUT, will there be room for the other side of music to actually enter into that confined space in a organic living way? That is the vital question to ask. At this point in time and from what I have witnessed, I am not convinced that it does. A more integrated approach with the formula music + technique = Art, will be more satisfying and fulfilling in the long run. From that foundation, going into audition training mode can be assistive to the refinement process if done with an integrated mind and heart.

Calendar of Past and Upcoming Events

2011-11-05T19:44:00.038-04:00

There has been a lot going on these past few months, as a I wrote a few blog posts ago. Last night (Friday, November 4th), I did a fun and potent recital with John Faieta at Boston Conservatory. We performed works by Bartok, Mozart, Telemann, Blazhevich and Bolter (myself)! The audience was asked to view the recital as a TV show and to sit back and watch it. You had to be there to get what I'm saying but there was lots of humor, humanity and profundity.. and a very good turn out as well! Bravo to John Faieta for his fine playing and willingness to be a part of this journey! The amazing photo seen here was put together by my wife, Carol.

UPCOMING EVENTS

BRASS SYMPOSIUM AT LONGY SCHOOL OF MUSIC

This coming weekend (Saturday, November 12th, and Sunday, November 13th), there will be a Brass Symposium at the Longy School of Music in Cambridge. This symposium, a first at Longy, is open to middle school, high school and college students. It will be a very full presentation, starting on Saturday at 4 PM with a concert by the Longy Faculty Brass Quintet featuring Steven Emery trumpet, Redline trumpeter Kyle Spraker will be assisting, Kevin Owen on horn, myself on trombone and Ken Amis on tuba, Redline Brass Quintet who are all in the Artist Diploma Program at Longy, Longy prep faculty and a combined large brass ensemble of faculty and students with me conducting. Following the concert, I will be conducting a rehearsal with all the participants and faculty in a mass brass ensemble that will be the grand finale to the many events that will be happening on Sunday. Before that, on Sunday, there will be master classes, brass topics discussion, breaking into individual instrument classes, playing opportunities for all to play a solo or excerpts and get feedback. Lots of informative and inspiring events!

PLEASE NOTE: IT IS VITAL THAT PEOPLE REGISTER ONLINE ASAP, MEANING BY WEDNESDAY. THE FEE COVERS MEALS AND SNACKS. If they don't have enough applicants at least 50 they say, the event will be cancelled. So register now if you are interested. To register, visit: Longy Brass Symposium or call 617-876-0956 ext 1760.

P.S. I am not sure if there will be the possibility to just walk in at the last minute. I really apologize for this and other and oversights in how the event was set up but since this is the first time tis is happening, i don't the PR people quite knew how to handle the details. Hopefully, next year will be it will be advertised more effectively and clearly.

BRASS BLAST AT NEW ENGLAND CONSERVATORY

On Sunday, November 20th from 10 AM-12 PM in Pierce Hall at New England Conservatory, there will be a Brass Blast at the NEC's Prep division. It will feature and premiere the new Faculty Brass Quintet! This quintet consists of myself on trombone, Eli Epstein on horn, Joseph Foley and Richard Kelly on trumpets and Ken Amis on tuba.

BRING YOUR INSTRUMENTS FOR A SIDE-BY-SIDE READING WITH THE QUINTET! It will be a fun and exciting time for all middle school and high school students! It's FREE and open to the public! Call 617-585-1130 to register.

TEACHER'S LOG, SCHOOL DATE 10-29-11

2011-10-29T18:47:00.012-04:00

The older I get it is easier to see certain things and/or patterns. One of my interests for over 35 years has been to get to the core of an issue, the heart of the matter, the CAUSE.

One of the things I realize is the cause is simple once it can be seen (or heard). BUT! It is not always easy to come to the very core cause of something and see it because that is a matter of perception development. This comes from constant penetration into the subject matter over years of working into it. We can only see what we can see at any given time.

Genetics can be the cause of certain physical conditions like baldness, serious diseases or longevity for example. But HOW we live our lives I think can either activate the not so useful genetic tendencies or activate the healthier ones. Think about how science comes to a theory then alters it when new discoveries are made that alters what was once considered 'fact.'

For many years Carol and I have been concerned with the integration of the technical and the musical. We have also been concerned as I said earlier of the cause of things. Over many years of experimenting and getting constant and consistent confirmation, what someone is connected to when they think, act or play an instrument, is a huge governing force in the potency and effectiveness of their results in the world of action. You may be wondering what does this has to do with music or playing an instrument. I would say almost everything! (Actually I would say everything).

That does not mean ignore the body and just think it and 'watch' it happen. It has to do with working with the body, i.e. embouchure, tongue, breathing, with a supportive attitude and thought that empowers the physical work.

Thought is energy. Your thoughts govern your body. Some might say that the body can affect the thoughts, of course it can. But lets take a look at some practical things in our music to help bring in the practical application of what has already been brought up.

I was conducting a class the other day, and the trumpets and the horns had something in unison. I said for the trumpets to blend more with the horns and the horns to blend more with the trumpets. And like magic, the blend was totally unified in timbre as well as pitch. I did not not pick it apart bit by bit tuning each note. It all happened with that concept.

Another example happened when the horn and trombone had the melody in Saint Saens 3rd symphony.The players were not really lining up very well. I suggested to think about the piano marking in another way rather than a volume control knob. I suggested to think of it as distant. Something in the distance. Well, like magic it happened. All the pitch, timbre and musical spirit aspects came together beautifully. All in the class could hear it and agreed it was HAPPENING.

You have most likely heard the saying 'a picture is worth ten thousand words.' How many words are in one thought, idea or concept? A connective thought is a unifying agent which acts like a magnet to all the individual details and draws them together under one purpose.

My concern as a teacher is that students and professionals who have worked with me, (and Carol), and who have experienced this kind of approach with it's effectiveness and powerful results, don't often put it to use. Why? Because the majority of the people they work with don't. It is easier to see the physical metronome and tuner than a thought which is energy and abstract in comparison.

There is the complex and the simple. My way (and Carol's) can come across as too simple and magical without paying attention to 'details.' BUT! It can also come across as very detailed in it's explanation of why it works and how it works. The way of connection is simple but getting there has it's own technique that is extremely specific and far away from being abstract or airy fairy.There is no lack of being aware of the 'details' on our parts. But the question is: what is powering the details? What details? What are they pieces of? To dismember something into details and examine them is one thing, but to not see that they are a part of a bigger picture that needs a connected thought to pull it all together, derails the spirit of the music. At this point it can turn into 'critics corner' connoisseur, picky type mentality. If someone is prone to this way and style and are getting results that they are satisfied with, then keep on it. The problem I have is this is getting to be a trend in orchestral settings, especially the audition circuit. The orchestra world could be loosing fine gifted artists to this system. Who knows, maybe something else will come with those players who can't fit into this system and to those who can but feel straight jacketed and a 'new professional' and a new orchestra will be born.

TEACHER'S LOG, SCHOOL DATE 10-22-11

2011-10-22T15:04:00.009-04:00

UPDATES

This October has been a very busy month! On top of all my teaching, coachings and classes, I have done extra master classes at Longy with the MAM (Modern American Music) program students and the Pedagogy class which is made up of all kinds of instrumentalists.

In the beginning of the month on October 7th, I also gave a master class for high school students at Rhode Island College in Providence, Rhode Island. I was also soloist with their wind ensemble in one of my compositions called "Timeline Contemplations".

A couple of days later on October 9th, I gave a master class at the Boston Conservatory on their first Trombone Day which featured master classes, recitals and performances by John Faeita, Larry Isaacson, Angel Subero, Blair Bollinger, Triton Brass with trombonist Wes Hopper, Michael Davis and Jeff Galindo. A very long and packed exciting day for sure for the many that attended.

I just got back from Toronto after doing a couple of master classes at the Glen Gould School which is part of the Royal Conservatory of Music. It was great to be there and the students were very open to me and kept up with me as my pace intensified throughout the day on a variety of trombone, brass playing and music topics. I was also thrilled to meet for the first time Gordon Sweeney who was Principal trombone of the Toronto Symphony for many years. I had heard so much about him for such a long time that it was a joy to be with him even briefly.

My feelings and I know my wife Carol Viera feels the same way, if a couple of people or only one person is deeply touched by what we say, it is worth it. I was very happy when several people from all of the different master classes and performances came up to me and were touched and wanted to keep in contact. I love when people can take something up and really work with it and see where it leads. This is very encouraging to me.

One girl who is a student at Rhode Island College came up to me and said that the piece I played and talked about when I was there (Timeline Contemplations for trombone and band), helped her understand time better in regards to life and are limited time in this sphere. That was such a joy for me to hear! Other people told me similar things there and at the other classes that were given in the other places. Meaning, that what was said had an impact on them that helped to answer or give direction to challenge they are having. For some it caused a rebalancing that needed in their playing and approach.

It is important as a teacher or clinician to remember that not everybody will 'buy' your product. Therefore 'to thyself be true' and adhere to what you believe in and someone will be on some overtone of resonance with where you are at and will benefit in some way to what you are saying and communicating.

*On a brass technique point: it was amazing how this one young lady bass trombonist's tone focused on her low C when she went from thinking 'Aah' as her syllable to "U!" The "U" sound is made like it is in the word tube. I love syllable work! What a vital ingrediant to the air-embouchure relationship. Not one syllable fits all ranges or all people.

TEACHER'S LOG, SCHOOL DATE 10-12-11

2011-10-12T22:44:00.005-04:00

In order for one to remember to keep working on a vital needed part to one's playing, it is necessary that they be applied in all circumstances, especially if those things are air support and embouchure structural support. When students just 'casually pick up the horn and start mindlessly playing, they are going back to their default system. This system might not be the one they need to keep reinforcing! Integration of new ideas, comments or techniques are not part of the automatic systems yet and need to be taken up every time the person plays or practices or rehearses. I know it is difficult, but it can be done.

Even when I say to students to write down on a piece of paper what you want to remember and look at what you want to consciously activate and add into your 'useful' habit life, it still can take a long time if the person is not constantly at it themselves on their own without me breathing down their neck.

That is why it is important to practice 'correctly' in small bits so it doesn't get overwhelming and the new habit can be formed without pressure in natural way. Again, oftentimes it is the power of the person's will and desire that comes into play or not. That will and desire holds the person to the task and see that it is done as good and as regularly as possible. Without this, nothing will really form the next steps to continuing growth. That makes it pretty tough on the teacher and ultimately the student will end up suffering the most.

TEACHER'S LOG, SCHOOL DATE 10-8-11

2011-10-08T19:13:00.005-04:00

It is so refreshing when a student comes in having been in their own process of discovery. I can always tell when people are actually taking a serious look into their playing. Some people express it with telling me what they came across with the exercises I have them do. This is a vital part of the relationship between teacher and student. The student eventually needs to come to the realization that they need to know themselves.

A person going through some changes in their playing is put into a situation to have to think about what they are doing. There is nothing wrong with this! A teacher really can only do as much as the student allows them to do with what they offer the teacher as a next step. If a student really wants to accomplish higher levels of playing, it is NATURAL to come across obstacles in the path. Not everything is easy! That is why it is a development process which takes a person through a variety of so called ups and downs, curves and unexpected twists. If the persistence is real in a person, answers will come. And those answers might be temporary, just help at that particular point in time. Then, something else might be needed further down the road.

It is so absolutely clear to me that everybody is unique. Some seem to not have 'obstacles.' To that I say, "Not yet anyway!"

It all depends on what is the motivating the person and how much they are willing to endure and pursue.

Teacher's Log, School Date 10-7-11

2011-10-07T13:06:00.002-04:00

Sometimes it is important at any level of accomplishment to use the wisdom of one of the great songs from the musical "The Sound of Music," "Let's start at the very beginning...."

TEACHER'S LOG, SCHOOL DATE 9-30-11

2011-09-30T23:06:00.009-04:00

It is so very interesting and telling how different states of attention affect ensemble and rhythm. It is so amazing to me how one flick of the mind turned in another direction of attention can alter EVERYTHING. I had a group shift their attention to focus on just one of the players in the group. EVERYTHING at least on a technical level was BETTER. Before this switch happened there was unsynchronized starts, pitch was not lined up, blend was jagged. This ALL changed in a big way. The one adjustment in focus altered the whole thing. I LOVE it!

I have done these kind of things hundreds of times but it never seizes to amaze me that it works so incredibly well. This change of attention to one player, ( you have to find the 'right' player for people to focus on or the reverse can happen) is an excellent way to 'create' better ensemble especially if there are issues with concentration or scattered thinking due to attempting to process too much. This makes the mind singular yet has multiple affects. Just like a magnet drawing all the individual iron shavings to itself. Wow! I hope the students remember and put to use some of these techniques and methods and find where else they might apply.

TEACHER'S LOG, SCHOOL DATE 9-28-11

2011-09-28T22:07:00.005-04:00

It is so interesting when asking a small chamber group to think of certain things and to see what generally happens to the music and of course them.

When asking a group to blend, the dynamic gets softer.

When asking a group to listen to pitch, the music gets very dry and tentative.

When asking a group to play with a resonant sound, the dynamic gets louder.

When asking a group to play with better time, articulation gets cleaner and so does the group beginnings of each note.

When asking a group to focus on pitch and blend, the tempo gets slower.

These are some things I've noticed for a long time and it says something about what happens to the person when they focus on individual aspects or 2 at a time. It is really says something about group and individual tendencies. When asked then to just focus on the spirit of the music, the technique in groups that do not have a clearly defined musical agreement on what the piece is about, starts to fall apart. I'm going to experiment with these things more.

TEACHER'S LOG, SCHOOL DATE 9-24-11

2011-09-24T19:47:00.006-04:00

Starting the day with a warm-up is a means of connecting you to your instrument mentally, emotionally and physically. It is just not a physical thing. Rehearsals and coachings also need a warm-up or tuning time, (which is just not about pitch!) so people can acclimate to the environment that is generated by everyone in that rehearsal. That atmosphere can be so dispersed because by majority people come in unfocused to the task. They are offset to what the task calls for. Warming-up the individual and the group is vital to be able to work together in shared purpose.

On another note, it takes so much more effort of the 'right' kind to accomplish something at a higher standard than what most students are aware of. I feel my job as a coach and teacher is to help bring awareness to that point. Air-support is one great example. AIR-SUPPORT MEANS ACTIVELY ENGAGING SOMETHING WHICH IS INVOLUNTARY INTO A VOLUNTARY DELIBERATE ACTION. (Breathing is involuntary and brass playing is voluntary). That takes EFFORT. Effort of the right kind. This can only come through practice, meaning constant, regular, thoughtful, attentive work. Even when we have some accomplishment and our efforts are closer to the 'right' kind, (meaning our automatic systems are filled mostly with habits that are efficient, and balanced in their mechanics), we still can't totally go to sleep at the wheel. This is another great thing about warming-up, it keeps us 'tuned' so to speak to what we are doing. If warming -up is regular, we can tell when things need adjustment.

It seems at times because of all there is to learn, retain and juggle, students can loose track of what they are aiming for. When I am coaching my groups, I always try to assess afterwards if I was too demanding. My focus is on what it takes to get the musical results, which does in my mind, automatically include the basics of ensemble playing. But each person has to be at full and that is where oftentimes the efforts fall short. If the standards in the practice room were higher, then maybe the attitude of finer standards would appear in the ensemble playing as well. Because focus and holding to the standard would have been 'practiced.' The greater efforts would be a regular feature.

TEACHER'S LOG, SCHOOL DATE 9-21-11

2011-09-21T21:08:00.008-04:00

The great juggling act of pitch, rhythm, articulation, breathing, tone, blending, listening, concentration and last but not least...the SPIRIT of the music! My wife Carol has a fantastic saying that "Music is just the wrapping paper for the essence inside it," that magic something that is the life of the music, it's spirit. Sometimes people spend so much time on the basic mechanics of playing they loose track of the spirit of the music or actually don't give it much thought. It can become an empty, pretty, shinny container.

In a coaching today, I listened to the terms the players were using to describe how things were going coming along in what they were playing. All about the ensemble aspect. In fact, that is all they were talking about. When they played, it sounded more spirited then how they were talking about it. However I brought up some points about terminology. Talking about chord changes, leading, being an 'ensemble' player as opposed to 'leading' a section was some of how they were speaking. Perfectly fine but I find that language limiting for me and it does not accurately translate what is going on to me. But they all understood what they were saying. I put some thoughts in for them to think about.

Is there any part in a piece of music which is really not important? My answer is NO. All parts are equally important in their role. For example, if there is a quartet, each person is 25%, and they need to play their role, part, at a full 100% no matter what that role or part is.
Each voice is a vital living sonic membrane of the group organism. Sometimes you might play the role of the brain, or kidney and bones. All vital to the well being and functioning of the musical body. The music and the technique come together as one living breathing life. But if there is only technical and mechanical considerations and language, will that summon the spirit of the music to inhabit that body of technique? The answer again is NO. The sentiment of the players and their committed search for the meaning of the piece will summon the essence. Otherwise, there will only be nice wrapping paper.

TEACHER'S LOG, SCHOOL DATE 9-20-11

2011-09-20T21:25:00.008-04:00

A teacher's job has complexities. A private studio teacher can have several faces to the student. I am interested in the person finding their way in the field. I am also interested in the person as a human. But I am not a trained psychologist like my wife, Dr. Carol Viera, who is able to deal with both the musical and human aspects at many different levels. However, I do try to deal with certain basic things, if I see it is within my ability and not go beyond that. It can be a fine line! But, if there is real care and sensitivity involved, the right course of action has a better chance of appearing.

I think it is important that the trust is key in the relationship. It is also a nice added touch if student and teacher happen to like each other as people. That does not mean students and teachers have to be friends as such but can have a warm interaction with respect towards one another.

Depending how big the age gap gets, it can feel more like parent-offspring relations in a way. When I started teaching at the college level, the BIGGEST gap between a student and myself was 2 years or so. That is basically the same age and it was easy to become actual friends and hang out together. Now with incoming freshman it is 38 years. BIG DIFFERENCE! That does not make all the relationships the same because you are dealing with unique people and chemistry. When the music really gets happening or there is a strong connection and flow between student and teacher in the territory being made, any age gap disappears into the shared experience. All become ageless.

TEACHER'S LOG, SCHOOL DATE 9-19-11

2011-09-19T21:26:00.005-04:00

What is the difference between a coach and a private lesson teacher? Is there one? Should there be one? Can a good coach not be as good at teaching in a private lesson setting? Can a good private teacher not be as good when coaching a group? I do think there is a difference in the two. They are different functions and require their own set of skills.

Some private lesson teachers have not been in a 'serious' (meaning long term playing, working, performing and/or recording together) chamber music situation to know the ins and outs of the circumstance. Some private lesson teachers might not warm to working with groups for whatever reasons. Coaching is dealing with a group entity. Private lesson teaching is dealing with a person with issues no matter how small or big they are. There are similarities of course in these functions but they are certainly not the same.

The group or individual student needs to trust the teacher or coach. The group or the individual student needs to practice on their own and take up what the teacher or coach suggests. A private lesson is a more intimate close range circumstance. However coaching can get pretty close and touchy because of the factor of 'public' exposure or one member being singled out in front of the others. This needs lots of care on the coach's part.

One of the jobs of a coach is to act as a unifying agent or magnet when the group is separating from its intactness. This of course should only be temporary. Unlike an orchestra when all the rehearsals are with a conductor, the chamber group rehearses on their own. This is a real significant difference. The chamber group needs to develop a certain kind of relationship and understanding with each other to be able to communicate and stay on task. The coach needs to be able to spot where the weaknesses are in the group dynamics and make suggestions, offer exercises and/or give techniques for them to work on.

In either scenario, it is a duet between the teacher and student or the coach and the group. Both of these relationships call for agreements, understandings and open communication that is held together by worked out standards and criteria.

TEACHER'S LOG, SCHOOL DATE 9-17-11

2011-09-17T23:42:00.008-04:00

Taking time with a student who is not at the level of the majority of the others in an ensemble is important for a couple of reasons. First, to help the player gain confidence and get positive feedback from the others. Secondly, to build tolerance and patience in the rest of the players.

Depending on the situation, the player who is having trouble keeping up because of not being as advanced as the other players could get more out of being with others closer to their own level. Especially if it is creating a lot of stress on them and the rest of the group is getting very frustrated. This can happen more easily in a larger group such as a band or a large like instrument ensemble where there are lots of people playing the same part.

If the students are keen and the teacher or conductor has skill working with people, there is an opportunity to observe and learn what can be done in those situations where someone is struggling. Now, what if the reason for the person struggling is unpreparedness? How the coach, conductor or teacher deals with that is also a good educational experience for the other students. If a person really is not taking the time to do their work, how much allowance should the teacher have? What is the breaking point? I am starting to rethink this in my own teaching. I can have a huge allowance but is that always useful? I think not. But, when should a person (student) realize that their development is up to them? I would say in general terms, the earlier the better!

At the college level the allowance does shrink even for me. But I always am examining how I can broaden my perceptions. That is why it is very important for me to understand what the person's reasons are for wanting a career in music. Plus, what do they want and how much are they willing to work for what they say they want. I realized when teaching at a few state universities the goals were different (from conservatory students) in terms of how much a student really wants to improve on their instrument. Now that is generally speaking of course. Some end up being terrific performers on their instruments. Many of the students I have taught at the state university level were interested in teaching/conducting high school, middle school or elementary school bands. I would encourage these students to practice a bit more and push themselves so they even have a better understanding of what it takes to advance. This will also help them deal with playing situations and challenges they will come across with their students because of how they learned to deal with their own issues. The more a person keeps going regardless of the ups and down they will encounter, the more they can see and understand others because of what it took for them to get to the next stage in the process of their growth.

TEACHER'S LOG, SCHOOL DATE 9-16-11

2011-09-16T23:46:00.014-04:00

I really believe that if a student takes up a couple of things from a class of mine or a lesson and actually remembers to work on them, those things will yield results. Practice is a form of either conscious, semiconscious or unconscious repetitive acts which cause a habit to be formed in our automatic systems. Practice in this case really means repetition of an action or thought. These repeated acts can form and govern our behavior. In seeing this, one eventually can see the importance of conscious, deliberate planning in practice sessions. (And of course in the rest of life).

Much of what I say in lessons, coachings or classes, is trying to assist the person in becoming more aware of what they do at the point. Not just in playing mechanics but in attitudes and judgements. This is as important as any technical portion of a practice session because of how it can influence the whole session. I gave an example today of the potency of a person's focus on the first week of a new job. Then I brought up the thought that if everyone focused like that before coming to class and during class, how the difference in quality, attentiveness and progress would jump exponentially. If that was the only nugget they put into practice from what I say all year, it would be huge. Especially if it were used in their own practice rooms.

Some of these ideas will not be realized until the person is in a situation where they really see it's validity based on their own need. Until then, it will be put off for things that would appear to be more pressing or immediate. It truly is all part of the process. The interesting thing is when these things are tried and the results are stark ravingly obvious, you would think that would make a deep impression and the territory would be taken up. But... not generally. Timing is everything and someone has to be ready, willing and urgent to want to take certain things up. You can lead a horse to water but....

TEACHER'S LOG, SCHOOL DATE 9-14-11

2011-09-14T22:31:00.007-04:00

To be able to listen is certainly one of the arts a teacher needs to have or develop. Not just in hearing someone play, but listening to them speak about themselves and their circumstances.

A question I ask myself is, "How much is too much information for someone to absorb?" Again, in general terms, it depends on the individual. Some people seem like they can absorb a lot or rather take a lot coming at them. That doesn't mean they can utilize, apply or even remember what was said. Others can take a little bit and really work with that bit and make it their own. Some students in the exuberance of wanting to do their best and really go for it, can swamp themselves with unrealistic expectations and end up drowning themselves in a sea of trying to do too much at one time. This is where having a plan and a couple of goals at one time can aide in keeping the student on task and productive. I've seen some students recently discover the meaning of the saying, "go slow to go fast." Or the saying, "a journey of a thousand miles starts with the first step." A step at a time with a goal in mind. Hey, that just came to me, I like that. It has a flow that might be easy for people to remember. A step at a time with a goal in mind.

In listening to students play chamber music, it is obvious when things are not in sync. Not only in rhythm, pitch or starting and ending together, but in agreement of what the music is about. Often times people just need to play the music a lot with their group to even get a feel for the music and then have ideas come as each person gets to know the piece. There certainly is a period I call the "getting to know you, getting to know all about you" ( a Rogers and Hammerstein song from the play The King and I) that is like dating the piece. Not only the piece, but a new chamber group needs to get to know each other at least on the playing and conceptual level. This of course is just not a student issue!

The Art of the Student is in a sense similar to the Art of the Teacher. Their needs to be a balance between having Allowance to experiment and find things coupled with a Resistance to drifting and not sticking to something. The balance of these two gates will either open or close the possibility for Transference of greater perception, knowledge and ability.

TEACHER'S LOG, SCHOOL DATE 9-13-11

2011-09-13T21:39:00.003-04:00

What to do when students don't come in with the prepared assignment? This is an excellent question I ask myself because some students really have reasons that make sense. BUT, should this be acceptable on a regular basis or at all?

Again I look at each individual situation. I can see in certain people that they are struggling at some level of playing and life. Playing really is just a microcosm of the person at various levels. Some might need to change aspects of the embouchure. Others, the air support systems and others attitude. What can I do as a teacher to help them? I can't give them a dose of determination really, but I can try to inspire and bring out the best in them that will act as a positive force and give them hope.

There are reasons for things. I know through the course of my life's studies and interests, that a person is very influenced by the environment they are in. Some students for example do play worse in front of the teacher others can play better. In the teacher's 'presence' either energizes the student who can handle more energy or it creates a barrier to some because of the higher standard the teacher comes with. This is important for teachers to understand. It is an energy related matter. Some students do start to play better as the lesson proceeds and they acclimate to the higher criteria. But will they be able to keep it up during the week on their own? That is always a big question, concern and interest of mine.

I look at each student and ask myself, "Where do they put their security?" On a physical level, some really put it on the embouchure, others on a strong air flow. Some, but it is rarer, but it on their musical connection. Others are quite balanced and have a tripod of the three, chops, air and a musical concept of some kind.

So the question is, how are these students practicing? What are they practicing? How do they practice what they practice and what is their threshold before they call it quits or say 'good enough!' Do they know when enough is enough? It is all part of the learning curve and process.

I try to have the student be responsible for their own development knowing that I will be there to help them. The roller coster ride to gaining more command can be a tough one and even tougher for some. I am convinced that the attitude and life outlook can play a huge part in keeping one sane.

TEACHER'S LOG, SCHOOL DATE 9-12-11

2011-09-12T19:33:00.010-04:00

Most of us have seen some version of the TV show Star Trek. I started watching it in 1965. Hmmmm... that was awhile ago, but nothing compared to the bigger sense of universal time! Anyway, I was thinking of starting a Teacher's Log with a School Date which of course is an idea coming from the Captain's Log and Star Date from the various Star Trek series.

In this, my aim is to boldly write about what my thoughts are in my teaching experiences without naming names or specific circumstances, but to reflect about what my experiences are, coming from my side, the teacher's side. They will be my thoughts and it is a way to shed light on the subject of teaching. It is a form of journal writing without bringing specific names or places into it. If by some chance someone 'sees' themselves in these writings, well, it might be interesting for them! On the other hand, it is important to note that it might not be 'them.' At the same time, they might see something about themselves in it. I will try to write in general terms even though the writings will certainly be inspired from real everyday situations that arise in my teaching life.

As I told a group of students the other day on the first day of school, I see each one of them as 'an ocean of possibilities.' Those are my true feelings. So from that standpoint and knowing that each student has their own unique journey, I will boldly attempt to write my thoughts down as often as I can about the actual day to day happenings in the Bolter studio.

FBSMC 3, Video 11, Life Companion-Personal Art

2011-09-05T14:27:00.005-04:00

This is the last video closing off the 2011 season of the Frequency Bone Summer Music Connection 3. I hope for those of you who are interested in the vast territory of Personal Art, that these videos and contemplations will help spark more of the flame of life art that is already in you, known or yet to be discovered.

In this video 11 called "Life Companion-Personal Art", I demonstrate how I apply my Personal Art into different styles of music having made them all personal to me. From that personal place, I feel there is a more potent communication that can touch on the personal life of another.

Quest on, enjoy and discover!

FBSMC 3, Contemplation 6

2011-08-30T15:15:00.004-04:00

Time: realm of the transient

As musicians, we know that music has tempo and rhythm. From that, we can see that life itself has tempo and rhythm. Think of some popular expressions like; 'This day is really dragging' or 'The day slipped right by me' or 'The years go by so fast' or 'This homework assignment is taking forever!' These expressions point out to the quality or type of mental, emotional or physical condition we might find ourselves in in certain circumstances that give rise to how fast or slow time appears to move.

I bring this up because making time for our Personal Art, can bring about a deepening of our musical endeavor which will add quality time to our life. Take the time now before it is taken from you.

Now that the summer is almost over and school, new symphony season or the whole fall- winter schedule starts up, I find it is good to have reflection. Reflection is a great thing if it is taken seriously. If you are a student going back to school (or whatever you might be doing if not a student) ask yourself:

What did I accomplish this summer?
Did I have some kind of plan to begin with?
How was my time spent?
Was there any improvement?
What was the balance of work and play? (there's a good question!)
What was the quality of my practice sessions?

I'm sure there are many questions one could ask of oneself. I try to do it everyday. Asking myself these types of questions, keeps me in touch with myself and I try to be totally honest. The more honest and objective you can be the better. If you hit a 'sore' spot in yourself with some of these questions, feel the ache, and make a plan to find a better way to make the most of your time. It is a process and it is very easy to get out of balance.

I used to practice an absurd amount of time. Some of it was a release and/or an expression of emotion.Was that practicing? Looking back, it was a great need to express and to never want to leave the music. In this way I spent a lot of time with the horn and music. I would practice, meaning working on weaknesses by repetition of exercises, studies, solos, excerpts and drills that I would make up or design to improve specific areas of my playing. I tried to touch on as many aspects of playing as I could.

Now when I practice, efficiency is a very important part. I know what to target and I don't try to cover all areas of playing everyday. It depends on what I want to maintain and what is in my schedule that I have to play for. I really play everyday. I took maybe 30 hours off a few times this summer. Usually I would play well within a 24 hour period of time. I could have laid off but I really like to play everyday. Some days I spend with the horn in a more devotional way. But always the basics are addressed daily. I like having a good 'reed'! When the 'reed' is good, there is a freedom from focusing too much on the physical so the soul-spirit can soar. Good thorough preparation makes for a better lift off, flight and landing!

FBSMC 3, Video 10, Instruction 6, Personal Art, more personal

2011-08-26T21:36:00.006-04:00

I speak very openly in this video about my first approaches in Personal Art. The first aspect of Personal Art if you recall from the other videos, was to 'play' in various territories like tone and articulation and discover their properties. Here I talk about how I used the instrument to express any emotion that was going through me. I also talk about my mother's influence on me as a person and as a teacher. She encouraged freedom of expression and to not be afraid to have big dreams of what you want in your life.

Most people that I know who wanted to be in music, felt something very personal in the music. 'It' spoke to them. Then with wanting to get a job, comes the intense work of refining our basics in a certain kind of way. Even if one just wants to get better on the instrument, it takes a lot of technical practice. Wanting control, stability and consistency, if not balanced with a musical element, can be very stifling for many people. That is why it is important to allow yourself to 'play' in the territory and to find the spectrum and freedom in the mechanical aspects. This finding the freedom will not happen right away. Each person needs to find their own way. If the passion and desire are great enough, and the person manifests this passion and desire into action, much will happen organically over time.

The development of the Personal Art is a choice. Just think for a moment if some of the great painters just thought about technique only. They would not have been able to capture the essence of the subject matter and make their painting seem so 'alive'. I'm sure many students of painting and drawing get very captivated by the world's great artists and wonder how they did it and what techniques they used. That is natural to want to know how and if it is motivated by the love of art, not just for the love of art itself but what it can express, anchor and transmit, then the desire for the technique has a real purpose.

Here to highlight a few of the important points of developing our Personal Art, I made a small list of things to keep in mind:

1. Allow yourself the freedom to let go of judgment and heavy standards so you can have the room to find your Personal Art. A little bit at a time.

2. 'Play' with your sound, articulation and phrasing like a child plays with something they love and can't put down.

3. Pick up your instrument and play the way you feel, mentally emotionally or physically. It could even be one note or a phrase.

4.Here are two different ways of approach at making your playing more personal:
a) Start with trying to access your own emotions and/or experiences and put them into your music.
b) Try to capture the nature of something outside yourself like a plant, animal, person or situation and play whatever comes to you about it.

5. Find important personal things in your life and play a piece that you think expresses your feelings or thoughts about it.

Personal Art in it's higher form is the person being instrumental for something else to play them.
This is being in service to a higher need. As my wife and partner in the Frequency Band Carol Viera says, "The most important instrument is the human instrument." You can use these thoughts if you wish, as a contemplation.

Enjoy, discover and quest on!

FBSMC3, Contemplation 5

2011-08-17T22:14:00.003-04:00

For those interested in teaching...

Teachers are guides to help, assist, inform, inspire, reflect, wake you up and remind you when you loose sight of what you say you want. They are not there to put their thing on you and eradicate your own unique voice and pathway.

At a higher level:
The higher duty of a teacher is to awaken or enliven the essence of the person and assist in encouraging and inspiring the subject matter in them and their unique expression of it. The ART OF CONNECTION

FBSMC3, Video 8, Instruction 5, Part 1 and Video 9, Instruction 5, Part 2

2011-08-14T12:45:00.008-04:00

These videos are meant to be viewed one after another in one setting. They dive deeper into integrating Personal Art with daily practice. Plus, there are some insightful words about teaching and when would be a good time to bring up the topic of Personal Art to a student.

FBSMC3, Video 7: Instruction 4, More On Personal Art, Part 2

2011-08-04T22:33:00.003-04:00

As we take our beginning steps into the Personal Art, more awareness of ourselves is an excellent byproduct. For those interested ones, lets keep the ball rolling down a wonderful hill of allowance, patience and discovery! This video will offer some guidance when the resistance comes from within ourselves.

FBSMC 3, Personal Art

2011-08-03T08:06:00.006-04:00

START WITH WHAT YOU CAN DO BUT START!

This thought 'start with what you can do but start' is a slight variation on the phrase 'start with what you can do', something people have heard me say many times. Starting can be difficult for several reasons. Sometimes we don't know where or how to start or we don't start because we want to do it 'right' and not get off on the 'wrong' foot.
In the unfolding of the Personal Art, letting things happen in their own time without judgement or hard critique is essential.

You need lots of ALLOWANCE to balance the RESISTANCE you might come up against. By having allowance and letting the discovery process happen, there will be a TRANSFERENCE to you from the process which will ALLOW for a new type of TRAINING to occur and RESPOND to. This will open up a vast RESOURCE of knowledge and ACTIVATE a new but latent TECHNOLOGY within yourself.

Near the end of Instruction 3, I was getting into the process of 'playing' something I saw on a walk. This might be a good place to start for some people. To find something on the outside of oneself to take a 'sonic picture' of before getting inside oneself. The caution would be not to avoid getting into yourself and accessing your own experiences, thoughts and feelings. Going inside oneself and having the music come from there, will help in taking a 'personalized sonic picture' of something on the outside of ourselves. The reason is that we will be in touch with our own 'registrations' of our internal processes more and having them come out of our instrument. This is, eventually, a very important component element in opening up Personal Art.

It should be getting clear that this is a huge and incredible area to be getting into! Something that can always be with you that will have lasting benefits outside of music. As my dear wife and working partner Carol says, "The most important instrument is the human instrument."

Much more to come..

FBSMC 3, Instruction 4, Part 1

2011-07-30T19:55:00.009-04:00

More On Personal Art

This video starts to deepen and gives insights into the huge possibilities and benefits of discovering one's Personal Art.

In the course of these videos on Personal Art, we will look into different angles of approach. The most important thing in this for those who are interested, is to just try. To spend a little time each day in our free expression time and just play. See if you can play without music. If this is too difficult, then find a piece that matches how you are feeling at the moment. If one is not available, play a piece you have on hand but play it from how you are feeling. Try to let go of expectations. In part 2 of Instruction 4, more will be said to help you on your way into this amazing territory. I hope that you are also spending some time with each of the contemplations as they appear. They are also there to help and encourage you in the unfoldment of your own special art.

FBSMC 3, Contemplation 4

2011-07-29T19:45:00.004-04:00

Personal...

Art....

Close in..

Near...

Urge to find

What stops?

What urges?

Give it time... personal time.. your time..

You to you... and watch it unfold.. it will if you keep at it

'It' wants you to..

You want 'It' too..

To stand in your own treasure and not know 'It'.. why?

Give a little time for 'It'..

'It will make itself known to you..

You making yourself known to you..

Sounds like a good start doesn't it?

FBSMC 3, Instruction 3, PERSONAL ART

2011-07-21T20:45:00.014-04:00

This is the first approach into the fascinating, wonderful and curious realm of Personal Art.

It is so easy to get lost in all of the things we think we should be doing that we can loose ourselves sometimes in the process. This can be very useful in certain processes and not beneficial in others. See what Video 5, Instruction 3 can do to enliven this vital territory in your music QUEST!

FBSMC 3, Contemplation 3

2011-07-15T17:44:00.002-04:00

The law of accumulation is different to that of growth and refinement.

One can accumulate all sorts of things. Just go into peoples attics, basements or garages! You will see much that has accumulated over the years. Much of those items have a history with them that might have significance in one's past. But accumulation of experiences do not equal growth unless there is thought and direction that can sort out what needs to be dropped off and what needs to continue and what needs to go through a refinement process and journey. This is governed by the motivating force of one's musical or life goals at any given time throughout a person's life.

So, there is a natural discarding or letting go that takes place on the journey-quest isn't there?

Like, maybe we don't have to write the slide positions over all the notes anymore.
Maybe we don't have to take a certain breath in a piece we've been working on anymore because our breathing has changed and we have more embouchure efficiency. But, maybe we still find mouthpiece playing useful so we continue it and find more effective methods in it's practice and further applications.

Think of the things we will always need as brass players.
-Air (lungs and diaphragm, etc.)
-Embouchure (teeth, lips, facial muscles etc.)
-Tongue
-a body…
-a mind...

Those aspects will certainly change throughout our playing career so don't be alarmed when they do! Good MAINTENANCE PRACTICE will keep you in touch with your needs.

Change can really alarm people when it seems to threaten their playing for example. Maybe we are not supposed to play the same our whole lives. Maybe our view of what is good playing needs to find a new outlet and viewpoint so we can continue to the next levels. Maybe those levels are UNKNOWN and they are not based on the criteria of what we thought good playing was or is.

Think on this: Our bodies do not maintain a youthful form forever. (I know that!) Either do our sounds, ranges and technical facilities stay youthful forever. Can we find the expression through what we can do at any given level? This is really a contemplation for players who are feeling the effects of 'age'. You do not need to be 65 to feel this change. It can happen at anytime. This is the value of 'playing' with the territory and being in touch with our physical, emotional and mental selves, (a three overlay system) so we can move with the changes and make course directions, pit stops and tune-ups along the way. It is vital to EMBRACE these changes and not AVOID them.

Frequency Bone Summer Music Connection 3, another take in case it helps!

2011-07-12T21:24:00.004-04:00

Here is another take on Instruction 2 in case it helps. Plus there are some extra points to consider and 'play' with!

Frequency Bone Summer Music Connection 3

2011-07-08T12:31:00.006-04:00

Instruction 2

This video will expand the territory of discovery further with more demonstrations and insights to encourage your own process.

Letting go. What does this mean and when is it or can it be important? In this video, I am wanting people who are interested in discovering more about their playing, and themselves in it, to drop some of the bias we can build up over time. If I give a student who is studying with me a task to work on, it is important that they do it and see what that process does to them. Part of discovery is letting ourselves get out of the way, usually letting go of certain concepts like: never use alternate positions in the orchestra, or never think 'er' for a syllable in our tone, or our tongue should never change positions for different registers. The list goes on and is not the same for everyone. Let yourself feel what you need and that discovery can take time. But! If you let yourself 'play' by taking away worry, by not thinking of right or wrong based on some previous conditioning, things will start to unfold. But! Don't put a time expectancy on it.

Remember, everything has a spectrum of expression. Make sure you give yourself room by balancing between what you will allow and what you will not. This is part of the process. Breath the freshness of new possibility into yourself!

Frequency Bone Summer Music Connection 3

2011-07-07T17:49:00.005-04:00

Contemplation 2

Let it
Direct it
Drop it
Stop it
Keep it
Do it

Which one or ones applies to you at this moment?

Frequency Bone Summer Music Connection 3

2011-07-02T17:37:00.012-04:00

INSTRUCTION 1

Knowing ourselves is a process that does not happen overnight. The same is true about our playing. In the hustle and bustle of practicing to get better, to win auditions, to keep up our skill for the job, how much time do we allow ourselves to 'play'? Oh, we probably play the horn a lot! But, what about letting ourselves explore the territory of our instrument. The sandbox of tone color, syllables, articulations. To let ourselves play with our sounds like a kid plays with silly putty. Yes it can bend, make shapes, be thin or fat. If we would only let ourselves discover it. Not just tone of course, but every aspect of our art. How could this not help us in discovering ourselves and our own wonderful uniqueness? This video takes a look at discovery and 'playing' with our sounds.

After watching this video, I hope you also take some time to do the Contemplation 1 that is on the post before this one. Build an attitude that loves discovery! It will open up so much new territory for you!

Frequency Bone Summer Music Connection 3: Contemplation 1

2011-07-01T16:36:00.007-04:00

Discovery… uncover… find, look, play with

don't wait for someone else to do it for you
most lessons with people can be that way
they wait to hear the next bit, BUT!

are they/we awake during the practice?

feeling, noticing, sensing trying and waiting…
BUT! not impatient or in boredom

BEING WITH IT, WHILE IT IS HAPPENING

SERIOUS INTENT, LOVE AND PASSIONATE

Children play.. they are serious about their play
Really IN IT they are.. lost to the world
this is the state of concentration, one pointedness

Or a mother lion protecting her young..
there are many examples..find some examples and ask yourself:

How does my focus compare in it's intensity to the examples I've found?

DISCOVERY…UNCOVER… FIND, LOOK, PLAY WITH, BE WITH

Welcome to Frequency Bone Summer Music Connection 3!

2011-06-24T19:06:00.006-04:00

It is Summer time again and I welcome you to Frequency Bone Summer Music Connection 3!

I hope you had a very productive year in your music making and life as whole. This video is an introduction to what I would like to work with you all on this summer. Enjoy the video. Come with an open mind and heart. Let's go on a quest!

It's been awhile...

2011-05-22T17:53:00.005-04:00

A lot has gone on in the past couple of months on lots of levels. On the musical side here are a few events that I was involved in.

In March I went to to New York and did a master class at Juilliard. Joe Alessi was an excellent host and we have a good time when we get together. My goal was to challenge the students in a thinking way about basic concepts like, what is a good sound and how our likes and dislikes can be like a cholesterol to our perceptions if they dismiss something too soon. I hope it was useful to the ones who were open to hearing it.

In April I went to Morehead State University and did a mini residency for a couple of days plus was featured on their Trombone Day. I did a couple of master classes, played a lecture recital of some of my compositions and conducted the college choir and a mass choir of high school students, teachers and other guests. The students were a real pleasure to work with.

Dr. William Mann, the trombone professor at MSU was a great host and we had a fun time together. Unfortunately he took me to a bakery that made incredible cookies and pies. It was a challenge not to stuff myself with those goodies. But being allergic to gluten surely keeps me on my toes and helps to control my urge for delicious bakery!

A couple of weeks ago I had the pleasure of hearing several student recitals including Jonathan Randazzo's. He played wonderfully. We have played duets together in lessons so I decided to write a duo for us to premiere at his recital. The duet consists of four movements and is titled "Dances and Chants". In one of the movements, we used our favorite mutes. Jonathan's favorite is the bucket mute and mine is the Harmon mute. It was a joy to play with him! He will be starting as the new second trombone of the North Carolina Symphony in September.

I also was asked to speak at the Longy School's commencement. That was really interesting since I have never spoken at a graduation before. Looking at all those students embarking on the next stage of their lives. What could I say to them that was not just more advice? My main message was to keep the bright sparks of your life that you have accumulated to this point in time very close to you and keep them lit! For when the dark times come, you will will have a light that no darkness can put out.

I wish all of you a happy, healthy and productive summer. My online summer music camp the Frequency Bone Summer Music Connection, will be starting in the next few weeks. Stay tuned! Lets go where few have gone before, into the deep waters where the music is always fresh and the essence of our lives shine brightly! Hope to see you there!

Much In Little

2011-03-23T16:34:00.007-04:00

By this time those of you who are interested in the last contemplation have considered what you like to practice and why. Now, to complete this contemplation, ask yourself this;

What do you avoid practicing?

This usually becomes apparent pretty quickly in most cases. Let's face it, it can be more fun and immediately more satisfying to practice things we are good at. But, is it serving to improve our ability on the instrument and musical expression? Is it helping us to develop discipline?

We are all prone to doing certain things better than other things. But depending on our goals and aspirations, avoiding aspects that need work will limit us as players, musicians and people too. It is not always easy to confront the difficulties but the rewards on many levels can be huge. It certainly will make us better teachers as well having gone through processes that are not naturally easy for us. Because we will have had to find our way through trial and error to make it happen. This brings appreciation and understanding about the nature of hard work and development.

Even if we never develop our difficult areas as fully as other aspects of our playing, working on them broadens our awareness of the craft and strengthens other areas that are related or that seem to not be related to what we are working on. It has been my experience that working on one area has a multi- level result throughout our systems.

We can't have growth and progress without hard work and the love and desire to keep at it.

Much In Little

2011-03-09T22:59:00.002-05:00

Question

What are your favorite things to practice? Why?

This is a very telling question to ask yourself. In this seemingly small question, much can be discovered about why you do what you do. Spend some time with it. Ask it to yourself nonstop for at least a week or two. See what answers you get.

Much In Little

2011-02-27T09:30:00.003-05:00

Many of you who spend time with music either listening, playing or practicing, start to build a value for the small things. The so called 'small' things are most often the building blocks for the so called 'bigger' things. For example, how could our 'big' bodies exist without the 'small' atoms? The power is in the small or often times 'unseen' worlds.

So I was thinking of putting out a series of posts called "Much In Little". This will be the first of such posts. They will consist of a tip, clue, exercise or contemplation all of which are 'small' but with practice will yield 'big' results if they are taken up and of course furthered.

This exercise is for brass players. On trombone if you want to trill, it most often needs to be a lip trill. A great builder of the corners of our embouchures can be cultivated in practicing lip trills a certain way. Many trill exercises have the player start with a natural slur and rhythmically speeding up until it gets fast enough to sound like a trill. I have found that the greater control comes from getting out of the trill, in other words gradually getting slower and slower from the fastest point of the trill. The mental image I have is of a fan being shut off. How smoothly the blade gets slower until it stops. A smooth gradual slow down. No sudden changes in the speed. This I have found to be an excellent corner builder. You might discover that certain ranges target the corners even more during the exercise.

A few minutes a day is all it takes. You might need to take some small breaks in between the different trills if your corners are really feeling it. Take a try if you are interested and leave a comment on the blog. I'd love to hear about your discoveries.

Birthday Reflection and Gratitude

2011-01-17T10:57:00.008-05:00

When your birthday comes around what do you think about?

I generally have a day of reflection and thanks for my life. I try to spend it with my wife and other close family if they are around.

When I pick up my horn I say, here you are still playing a year later. What is different? What is the same?

The difference in ages 16 and 56 is huge, but what is the same? Physically big changes have happened. Emotionally and mentally as well. What are those changes? Are they beneficial to my life and to others? That is my big concern and contemplation.

As far as my trombone playing goes, there are things I cannot do like I could when I was 19 or 20 years old. Especially with volume power and overall endurance. Now it is different on that level. The 'power' expresses itself in another form. The reason for playing is the same but much more refined and 'highly' tuned.

Do you ever ask yourself, who or what you play for in your mind's eye? Is it your teachers, parents, mentor's or artists you look up to and respect? I realized who I have always played for. Regardless of the many cloaks it took over the years. I used to play for my grandma, mother, father or some teachers and performers I looked up too. I always played the best for my close relatives. They believed in me and loved me. Playing for my wife Carol is truly an experience of a profound kind. Her 'acoustic' resonates with whatever is coming out of me in a pure and truthful way. With great support for my life wanting it to be as good as it can be.

All these people represent the One behind all life. That is who I play for and have always played for whether I consciously knew it or not. I always wanted to express what was in me with a purpose. I never needed a big audience to feel satisfied. I never feel 'alone'. For I believe you are never alone.

For that living reality, for all the close people in my life from the beginning to now including , parents, grandparents, siblings, wife, son, uncles, aunts, life guides, teachers, band directors, friends, pets, and students too!, I have the deepest gratitude for you all for making my life richer, more honest and fulfilling.

Music is no different to life. The One sound in all sounds. The One life in the many!

No Rest For the Determined

2010-12-28T23:38:00.010-05:00

Holiday time is a wonderful time to visit with family and friends. It can also be great to have time away from our usual schedule to reconnect to ourselves and get refreshed. But, it can also be a time during these winter, spring or summer breaks to get a lot of good solid practice in.

This past summer, the topic for the Frequency Bone Summer Music Connection was about what is improvement and truly making the most out of our practice time when on summer vacation. If you plan it right, you can have a good three hour practice session and still be with family, friends and getting some good rest.

Some people seem to have a hard time with planning their own practice time without a schedule to work around like a summer music festival or school activities. But if you need motivation outside yourself, remember that lots of festival auditions take place not that much after school gets back in session in January. Plus there are school auditions and some competitions as well.

I used to love school vacations because I could practice all day if I wanted to and did many times! I would go outside when I lived on a farm in southern Minnesota and practice projection in three dimensions. That is how I developed my 3D sound exercises. Plus being with the trees and huge Minnesotan sky, I felt like a part of nature and the feeling of my sound and overall music making would take on different characteristics.

Practicing can be enjoyable and so constructive even when we are not planning for any particular event. Just for our own development and love of playing music through our instruments. Vacation time doesn't mean you need to go vacant in your mind and playing. Make the most out of your time by setting all kinds of short term, mid term and long term goals.

Why take lots of time off when you are young and still in school? If you really love and want something, keep at it with rest periods of course. I am not anti rest! Rest is vital but one must learn to tell the difference between rest and neglect born of laziness or lack of motivation. When you really are determined, you don't even think in terms of taking time off. You think, when can I get at it again?

One excellent thing to do this time of year is to reflect on what we did this past year. Ask yourself what you would like to improve on and acknowledge what progress you did make. Reflection and keeping a journal is a wonderful way to chart our development and see where we are at. You can also detect your patterns and cycles.

Happy New Year! May your practicing be bright, merry and connected!

A Trio of Seconds

2010-12-10T19:38:00.008-05:00

Yesterday I attended a BSO retiree get together which happens about three times a year. It was my first time doing this since I left the orchestra in December of 2007, exactly three years ago.

It was really nice to see everyone who was there. When I joined the BSO in 1975 I was the youngest member at 20 years old. Now at 55 years old, I'm the youngest retiree! Life is funny....

In this picture, there are three former BSO second trombonists. From left to right: William Moyer, Ronald Barron and myself. William 'BIll' Moyer had to play one of the most intense Mozart Requiems. It was for the internationally televised broadcast of the JKF funeral with the Boston Symphony playing. There is an old recording of it and Bill played wonderfully! I think the whole world, especially the US, was in such a state of mourning that it was an actual 'requiem' atmosphere. It was not a concert situation with the usual judgements or newspaper critics. Bill totally rose to the occasion. He was also the BSO personnel manager for many years after serving for 15 years as second trombone. Ron became 2nd trombone in 1970 and I replaced him as 2nd trombone in 1975 after he won the principal position.

Seventeen years ago today....

2010-11-17T20:26:00.001-05:00

Seventeen years ago today, starting at 10pm, in the chorus room in Symphony Hall and lasting until 2am, fourteen trombonists gathered to go where few have gone before, and never in this way, entered the domain of the Frequency Band….taking a journey into color, ancient places, well being and noble human qualities. The music was living, breathing and pulsating through us and around us creating tangle atmospheres and deep feelings. The Frequency Band was born!

Since this time the Frequency Band has been on an incredible journey of discovery and development. Ever growing in the core of it's arising, 'A Unity Born of Humanity'. A path leading to the essence of the music where the human instrument is the most important instrument. A place where your mistakes cost you nothing. A real sanctuary for music as a living thing.

I wish to thank all who have been in the Frequency Band over the past seventeen years and for those who have been supporters of it's arising. I personally want to thank my dear wife and co-director of the Frequency Band, Carol Viera, for her unstoppable will, depth of thought and perception and humanity she brings to this endeavor. The Frequency Band would not be what it is without her powerful connections and insight.

I wish you all the greatest happiness, connection and well being! It has been such an honor to be a part of this undertaking. May it live on and on for generations to come.

HAPPY BIRTHDAY FREQUENCY BAND!

Please visit the Frequency Band on Facebook too!

Beware of Over Extending

2010-10-07T08:17:00.007-04:00

It has been a while since I've posted anything. It has been really busy with all the schools starting. I will still put up more pictures from my trip to Venezuela working with El Sistema hopefully in the next couple of weeks. Plus, I just finished a new piece for trombone and wind ensemble called "One Trek". I will premiere it on February 15th in Jordan Hall with Charles Peltz conducting the NEC Wind Ensemble. More details about the piece will be coming in another post.

Since school has started, I have seen people over extending themselves. This has led to wrecked chops and with that a bit of a depressed state. It can be hard to juggle all the various playing responsibilities we have with ensembles, lessons and our practice time. Knowing when to STOP is absolutely vital. Knowing when to have shorter practice times is vital. Knowing when and what to practice according to how we our feeling needs to come into it too, especially if fatigue and strain are becoming a daily feature.

Play, feel-think, play. This means play something, then 'listen' to what has happened. Be simple but thorough. Play it again, take the mouthpiece off, and remember what you just did. Ask yourself, was it closer or further away from your desired result?

If you have mashed up your embouchure, take care to go slow. Warm-up, carefully using your air support. When our chops get hurt we can often get very preoccupied with them and forget about our air support and mental concepts to help us in our playing. Always connect to your love and reasons why you are in music. Take the time to listen to music you love or want to get to know better. This will keep you mentally and emotionally more satisfied.

You might want to think about what your practice sessions each day. Perhaps you need to have an alternate day schedule with certain things. High range every other day. Extreme loud on another day with lots of breaks making sure there is not undue strain in any part of the body or embouchure. And plenty of soft playing.

This I know takes patience, especially when there is a lot of music to learn, or we really want to improve at a more rapid pace.

Remember the golden rule: Start with what you can do and GRADUALLY extend from there. Even if it is what you think is too slow or elementary. Your embouchure will be very thankful to you for doing this and will recover sooner then it would otherwise.

Back from Venezuela!

2010-09-04T14:29:00.004-04:00

What an honor, privilege and a joy to work with the over 50 trombone players that attended the seminar put on by the El Sistema program in Caracas Venezuela!

The week was so full. We started at 9 in the morning for 3 or 4 hours and again in the afternoon starting at about 3 for the same amount of time. Plus, we listened to 2 concerts a day!

There were 16 of us from NEC who were working with the students, woodwind, trombones, strings, percussion, big band. We were treated extremely well. The appreciation and the spirit of the students was almost overwhelming.

The trombones were one of the biggest numbers of like instruments at the seminar. Maybe the biggest! The ages ranged from 8 to 30years old I believe. The 8 year old named Kasin, was SO talented and SERIOUS! He never lost his focus. Really impressive for anyone let alone an 8 year old!

The trombone teachers who were present included Miguel Sanchez, the main teacher who is a fantastic trombonist, performer, teacher, person and founder of the Veneszuela Trombone Ensemble. His sister Melissa is also a terrific teacher, coach, performer and person. Their father, Angel Sanchez was also participating in my classes and was a big teacher for many years in Caracas. He was present in all the classes. Really inspiring.

Our times together were spent in group warm-ups, choir, solos, quartets, many discussions and workshops on all aspects of playing. Lots of laughter, serious times, the deeper questions about music and profound musical connection to the spirit of the music and above all an incredible humanity.

I will write more about the specifics soon. I will also be posting more pictures so you can get more of a flavor looking at the wonderful people participating. Our theme turned out to be, music + technique = Art. They were so grateful that the music was the most upfront feature and that technique was to be used as a facilitating skill for the communication of the music. They totally understood that attitude and feeling is key to connecting to the music. The joy and thankfulness I felt from the fact they got my (and Carol's) essential message, was monumental and would be difficult for me to put into words.

More soon!! Stay tuned!

Venezuela - El Sistema!

2010-08-26T23:28:00.017-04:00

Some first photos from my trip to Venezuela working with El Sistema! It is such a great experience being here! The last photo is of some of the trombonists trying to copy my faces! I'll write more about all the photos and my time here when I'm back next week. Till then I hope you enjoy the photos!

Frequency Bone Summer Music Connection 2 -Final Week

2010-08-19T22:18:00.014-04:00

Opportunity Awaits

It is important to realize change is a part of life and our music making and our instrumental abilities will be affected by those changes whatever they may be. If it wasn't for change, how could we grow and develop? Change is not always easy. It is in those not so easy times that there is a great opportunity for improvement. Struggle can help us see more and test our will and determination. Learn to embrace change as a part of life. I am NOT saying all change is in the name of healthy development. So certain change, that signals something is out of alignment or balance, is vital to listen too. It is a warning for us to relook and reapproach what we are doing. At the same time, that which seems awful could and often does have a silver lining in it after we go on a bit of a journey to find out what we need to find out.

Onward and upward!!

Tool of Connection FBSMC 2, week 6

2010-08-05T15:04:00.009-04:00

Tools of Connection

One of the great aspects of painting, sculpture, music, architecture, poetry, dance and all of the arts, they express a life story. For example, a musician would learn a lot from dancers and how they handle gravity, lift and landing as a great way to see the 'architecture' of phrasing. Look at paintings to see timbre through the medium of color and texture and see how they shape the landscape and dimensions of the picture. 'Tools of Connection.'

You have lived a life and are filled with experiences and influences that you have access to, like going to a library or doing a google search. How much have you accessed this real life archive to impact your music making consciously? These are also great 'Tools of Connection.'

I would hope that my blog and the Frequency Bone Summer Music Connection are 'Tools of Connection' so you can keep creating and surrounding yourself with 'Tools of Connection' and thereby, even in your greatest difficulty and times of draught, you will know that the waters of 'music as a living thing' are always close by and that the process of connecting is also a form of music.

A great life teacher and mentor of mine always said, "it's not who is playing the music, but WHAT is playing the music that is important." What are you connected to at any given time? Now that's a good contemplation! Best done while caught in the act of living!

Tone Color, Part 2, FBSMC 2

2010-08-03T23:53:00.008-04:00

More from week 5

In the video I speak of connecting to a character and then all the overlays come together. Then I further go on to say that if it doesn't come together then I go on a search to find the technique and whatever it takes to make it happen. That is true, but I also go on a quest to find out if I am actually connecting to the character or whether I myself am not in a location for the character to flow into me. If I am too offset to where the character or essence lives, then the connection will not be full or really happen at a deep level where the character would reveal more of it's self to me.

This is the real essence of the journey. Connection does not just happen with a few techniques or casual knowledge. It will only happen if there is an alignment of a sympathetic resonance between yourself and what you are trying to connect to. Think about having a relationship with someone. They are not always going to reveal their deepest feelings to you if there is not a trust and mutual understanding of some kind between the both of you.

If you are so glued to having your one sound, tone color contrast will not make its way into your playing because there will be no opening in you for it to do so. If you do on the other hand have a real need in yourself to express something beyond pretty notes on a page, then you will feel the urgent drive to find a way to do it. To quote a great phrase from one of my life teachers, "If you can't find it, make it."

Week 5 of Frequency Bone Summer Music Connection 2, Tone Color

2010-07-26T22:22:00.008-04:00

How to Prevent Color Blindness

The color blindness comes when we disregard other concepts as not worthy or instantly retreat into our likes and dislikes. In the name of discovery, it is best to 'turn down' that volume knob so it doesn't block other important observations. Even in teaching, it is good to observe how certain sounds are made looking at the physical, emotional and conceptual aspects of your student that would contribute to certain sounds.

I am sure you all noticed that I came in early for the last part of the Tuba Mirum solo demonstration. I realized when listening to it that my mind got preoccupied with a new sense of that line in feeling, color and nuance. The mic that I am using is the one on the computer. Very limiting. So, because I think these videos are a way to get some of my ideas out there, I am going to get some better equipment, like a good mic! So then, you will be able to better sense the different tone colors that I am talking about and am demonstrating.

Funny isn't it? Equipment is important but sound shouldn't start there. It needs to be discovered by hearing different trombonists and other instrumentalists. A very good friend of mine, a terrific tubist, educator and musician, Gary Ofenloch, used to kid me. Right before I would play a note, he would rattle off about 10 different qualities he would want in a sound, like: round, rich, clear, vibrant, ringing, full, deep, projected, big, sweet, centered. It is a fun and interesting thing to ask yourself - what kind of qualities do you want in your basic sound make-up? Some people like just nice, clear, fresh water. Others like a full bodied brew or stew filled with a certain balance of several ingredients.

Try the syllable exercise that is suggested on the video. Do it on a note that feels comfortable for you and make each syllable very distinct and a bit exaggerated. Then do it more subtly. You can get to a point where just the slightest introduction of one syllable can change how you produce a sound. See what happens!

Technique or Muscle, part 2

2010-07-24T18:12:00.009-04:00

More for week 4 of FBSMC 2!

The first week of this year's Frequency Bone Summer Music Connection can be applied throughout all that we are doing in the other weeks. It is that basic formula of C + X =R. If you forgot or did not see it yet, go back to week one's supplement writing.

It is a great formula to work into especially in times when you can't think of what to do or you are in a rut of some kind. You can try a three way formula with range too, such as: air speed + syllable + more/ less mouthpiece pressure. In your low range you might want to try different air speeds and/or temperatures with different syllables and experiment with mouthpiece pressures of various kinds.

Always remember the first basic principle of starting with what you can do and working from there in a gradual way. Be content with little improvements that happen in a steady way. It is natural for there to be periods when not much is happening. Be observant during those periods and you will learn much. Sometimes working on range and other parts of our playing builds the range, endurance and stability of our patience! That is a good thing! :)

Here it is! Week 4 of Frequency Bone Summer Music Connection 2

2010-07-22T16:44:00.009-04:00

Technique or Muscle ? Part 1

Sorry for the delay! My computer was having some problems.

Range development is interesting and it comes very naturally for some people and for others it can be a real struggle and takes a long time. It is a matter of having the time and mostly having the exercises and approach that can make it happen as efficiently as possible.

We need the 'muscle' to sometimes have the ability to form the technique we need. But the constant desire to have a fine range and doing basic exercises in a thoughtful way, can lead us to the discovery of what we need. In part 2 of this series I will get into very specific things that I currently practice and things that I have done in the past for developing my high range and low range. It will be closely related to the topic of week 2 "Embouchure and Air". I will post this in a couple of days. Stay tuned and keep up the thoughtful and feeling practicing!

Notice: FBSMC 2 - Week 4

2010-07-18T18:48:00.005-04:00

Supplement Video for Week 3 of FBSMC 2

2010-07-16T11:33:00.007-04:00

The Value of Repetition

The value of repetition and the natural process of what it is is inherent in life at all levels. There is an upside and a downside to this as it pertains to our habit life and our development life. What we practice on a repetitive basis forms the foundation of our skills, attitudes and musical connections.

Sometimes we have to put on the brakes and ask ourselves a very important question, "What in the world am I doing?" Being able to stop allows us time to reflect and observe our routines. It also can give us the opportunity to make a course correction if needed and to regroup ourselves and start anew. This is a very important process. To get off the wheel of unconscious habit that put us into unwanted 'repeat performances,'

It is how we use this natural repetition that can move us forward or keep us held back, as if stuck in mud or snow. It is finding the right actions for the circumstance, and this comes with your continued passion, interest and drive towards what we say we want. Even our wills get tested over and over again and just like the muscles that get stronger from lifting weights, for example, our wills get stronger from the many ups and downs we encounter.

It should be clear that repetition in this context cannot be escaped from. It is a matter of continually finding new ways and sticking to the things that work from which we can build the ladder of our accomplishment or next level of attainment.

Practice (repeated actions done regularly) can keep us ever renewed or continually trapped in old unwanted ways. There are academic rules, and there are natural laws. Which one should govern the other one, in your mind?

Week 3 of the Frequency Bone Summer Music Connection 2

2010-07-11T22:33:00.009-04:00

Articulation or Air-ticulation? That is the question.
And that is the DISCOVERY!

From the very beginning, as brass players, we are taught some form of articulation. Whether it is to say "TAH", TOH" or "TUH" and then eventually for trombone players to say "DUH", "DAH" or even "LAH" for legato articulation. All of these suggest the placement of the tongue with a syllable as well.

One famous bass trombonist from 'yesteryear' was a man named John Coffey. He used to say to his students, "Tongue and blow, kid!" In a sense, that can be the very basic mechanics at play without being very specific. When players just think of tongue, oftentimes this can lead to all sorts of tension in the throat and lay the ground for articulation problems such as stutter attacks, where a person has a real difficult time coming in on the first note of anything. So this is where air-ticulation is vital in the three fold mechanism of articulation, air-tongue-embouchure. Remembering to use our air can make things less tense with more fluidity and ease of production.

The serious player will discover eventually what articulation match feels comfortable for them. But one thing I have noticed as a trend is playing really short is out of fashion. Not only short, but having a variety of articulation seems to be 'dated.' Long rounded articulation seems to be what is 'in' now and I see some of the reasons for this. In some of the cases regarding the enlargement of tone size, the longer articulation seemed to match it better or was found easier to produce in conjunction with a larger sound. Plus conductors also seemed to warm to a 'rounder' sound from the brass and naturally this meant not such a pointed front to the articulation.

Let's face it, in terms of having greater accuracy, lots of variation in tone color, dynamics and articulations gets more difficult. It is easier to 'control' just a couple of things rather than a larger number of possibilities. However, I have found that different kinds of articulation build greater control and work on specific areas of the embouchure and air support systems.

Take some of those basic Arban and Kopprasch etudes and use different articulations. Play them really short and dry, soft, short and accented, long with a small little space, accented long with no break and on and on. The various combinations are endless. In the end, I have found each kind of articulation has its merit physically, therapeutically and most importantly musically. Would a great painter only use one kind of brush stroke for everything?

Supplement for Week 2 of FBSMC 2

2010-07-09T14:37:00.012-04:00

What about Loud Playing?

Perhaps in your practicing this week some of you are asking, "Can loud playing build embouchure and air efficiency?" I would have to answer yes to that. Loud playing can build muscle strength and grip in the embouchure. But too much of it can cause the tone to lose certain properties like high overtone ring, sweetness and responsiveness.

If loud playing can be integrated in a balanced way into a person's practice diet, it can be very helpful in building endurance, size and depth of tone and projection to name a few things. Plus we learn something about our lung capacity and the limitations of our range in this louder dynamic. It might stretch us into finding other ways of manipulating our embouchure. This is fine as long as we don't lose the basic overall structural integrity of the embouchure.

Adding more powerful volume levels is good. It can be great to practice them outside if we can. This is where the importance of concept comes in because our bodies, no matter how strong we can get them, have limited fuel and energy levels. But, the power of the mind, once realized, can have unlimited resources and be a very important facilitator in our quest for more power, and more importantly timbre and sonic expansion which is hopefully musically connected at its base.

Certain kinds of practicing are like strong potent vitamins. A little at a time, with care, is the way to go. Listen to what your body is telling you ! When in doubt, STOP. Then start again refreshed !

Week 2 of the Frequency Bone Summer Music Connection 2

2010-07-05T00:43:00.013-04:00

Embouchure and Air, is it a good marriage?

Many times our concepts help shape our playing apparatus. In this case, I of course mean the structure and mechanism of the embouchure and the way we operate our inhales and exhales.

I have seen people who have a concept that does not match their physiology. This creates great conflict and an unnatural feeling in the person.

Some body types and character types do not fully support certain sound concepts. A huge deep wide sound might be what some player wants but it might not be 'them' at the level of their physical framework. Getting bigger equipment might not help either but could actually make it worse! At other times the reason why a player may change equipment could be very useful. In the end, sound production needs to have a natural ease about it and, if it does, that would be a sign of a certain coordination between concept and physiology (and equipment).

If a person has a very tight concentrated mouthpiece sound, that can potentially have the making of a very full resonant quality, if they have a good amount of air to pass through that set up. If not, the quality of the sound might be leaner and not resonate too much of the lower overtone spectrum. As I have said at other times, air speed and temperature come into this. A slower warmer air speed can help the person with a very tight mouthpiece sound to fill out and open up the vibration. The reverse is true of the person with a wide more porous mouthpiece sound where a cooler faster air speed can bring more high overtones into the sound with, of course, a combination of other kinds of exercises. Different syllables also can aid or detract from this process. The syllable OH, is not always useful in making a sound have more size or openness. Depending on the factors of lip vibration quality and air pressure-speed and temperature, OH might be the most inefficient syllable to work with (especially in cases where the sound suffers from lack of center and ring).

I said in the video that efficiency can help broaden one's scope of color, nuance and inflection by the fact a person would have more control to do what they would want. This came up in relation to building more efficiency by practicing softly in a variety of ways. To make this clearer, let's use the example of an oboe player.

An oboe does not have the decibel scope of a brass instrument. So, the oboist needs to make a lot out of a little! Each variation needs to be very vivid. This is done not just by decibel contrast but by nuance and inflections that are hopefully originating from a connected musical intent.

If you have a clear and steady bowl of water, it does not take much movement to cause a ripple does it? If our sound can have that same kind of focus and fluidity, then we have the option of saying a lot without the need of a great wide decibel level. This puts us in a position to create more using less. Sounds very efficient!

Keeping the embouchure intact with good form in the corners and upper and lower lip contact can keep us playing at a good level for many years, for even when we age and find that our air capacity might decrease, we can know that we have an embouchure (in conjunction with musical feelings and nuances) to keep making music full of contrasts and expression.

Supplement for Week 1 of FBSMC 2

2010-07-02T17:35:00.008-04:00

Have a good time but remember....

I hope for those of you who are trying this three-step method that it is showing itself to be useful. If any questions about it come up, or you would like to share your discoveries using this exercise, I encourage you to write it in the comments.

Also, as I'm sure many of you have discovered, you can use anything as a constant plus anything else. So the formula is C (constant) + X (anything else) = R (result). For example, let's say you are working on articulation clarity, you could do articulation plus rhythm or articulation plus tone or articulation plus pitch. In this way, you can use this tool as a diagnostic for your articulation or anything else. It really goes everywhere.

These methods are designed to offer different perspectives and angles on any given facet of playing. Don't be rushed into trying a million combinations. It is just a suggestion. The formula is what it is and there are an infinite number things you can plug into it. Especially useful if you are in a rut with any given aspect.

This coming Monday there will be a new video and a new assignment. Don't feel you have to forget about this one! Have a good weekend but remember to keep up the passion and goal pressure in a constant and cheerful way! Passion-goal-pressure (PGP) + Fourth of July weekend (FJW) = fun and improvement! (FI) :)

Welcome to Frequency Bone Summer Music Connection 2

2010-06-27T23:02:00.009-04:00

This summer's theme is "Summer, A Great Opportunity for Improvement!!"

Week 1 is focusing on practicing. So the title of our first video is "Your Practice Sessions."

It Takes the Right Attitude To Get the Altitude!

If you think of yourself as the pilot of your improvement, you will quickly see that your attitude plays a key role in your height or altitude of progress. The A.R.T. of someone really serious about growth in any field needs the qualities of Application, Regularity and Targeting. If you want good retention, have immediate application on a regular basis. This will increase your awareness, and your ability to reapproach and fine tune your results.

One obstacle to steady progress is thinking it should happen in a straight line. For actual development to happen it really is necessary for things to go a bit up, down and sideways from time to time so we can get different insights and learn a variety of lessons. Another obstacle is not spending enough time with just a couple of things. Taking on too much can put us on overload making it difficult to process our information clearly and effectively.

Let's say you have forty minutes to practice. You might need five or more minutes to get yourself in a better more clearly focused state of mind and another five or so minutes of horn warm-up time. So now you could have 25 or minutes left for some excellent concentrated time to work on a passage that is giving you a challenge, or play through a couple of excerpts all the way like a mini audition round or work an any area of playing like articulation, slurs, range building, dynamic contrasts. etc.

Remember that you can strain your embouchure in these 25 minutes if you are not thoughtful. Twenty-five minutes of loud high range can really be harmful for some people. You might want to take that twenty-five minutes and play some low range then mid range and then go to some high range playing ending with some low range playing again.

In working on the three step assignment, do some breathing exercises first, followed by some simple mouthpiece glissing in a comfortable range for a minute or two then go to your exercise or piece of your choice. Blowing air on your palm to feel that air pressure is great. I always imagine a micro-cresendo while the air is being blown on my palm as well as thru the trombone. It is so easy to sag which means we are losing our mental focus and intention as well as air support weakening. To become conscious of our mental support, I practice the finger on the palm as shown in the video. Here it is important to practice a micro-increase of pressure for maybe thirty seconds or so to give yourself the discipline of slow but steady pressure and mental focus. Support means not dropping the ball! It can be done in a way that's not full of tension but is held in a stable and balanced way.

In order to get the altitude, we need a supportive and grounded attitude! You can have the greatest methods in the world, but with an unsupportive attitude it will not happen or take you much longer to achieve what you would like. Remember it is the balance between allowance and resistance. Have standards but give yourself the chance to achieve them!

I hope this writing gives some extra clarity to the video. If you have any questions put them on the comment page and I will answer them.

Frequency Bone Summer Music Connection 2 Starts Next Week!

2010-06-25T10:37:00.007-04:00

In the spring, many high school and college students are hoping to get into summer music festivals or music camps. Perhaps a seminar or two. Some even apply to work at these festivals so they can at least be around the excitement that being a part of all the rehearsing, concerts, listening to lots of talented people practicing and new friendships bring.

But what if it is our situation that we did not get into a summer music festival or could not afford to go to one? What can we do to make the most of our time and see tangible progress in our playing during this time? The answer is a ton! So for this year's Frequency Bone Summer Music Connection (FBSMC), we are going to focus on improvement methods and techniques in many areas of playing and music making. Let's face it, with the aid of a computer, there is so much a person can do. In fact without a computer there is an infinite number of things one can do! There is always something that can be done. So with the inspiration of that fact, let's call Frequency Bone Summer Music Connection 2, "Summer, A Great Opportunity For Improvement!"

The FBSMC online music camp will start Monday the 27th of June and go until about July 30th. It might go longer but we'll play it by ear and response. This year the format for the FBSMC will be a bit different. There will be one topic per week which will include a video and a writing or two. So in a way, it will be more like weekly sessions, giving the interested person time to work on, think about, practice and experiment with the material that will be offered. More time to digest and prepare for the next weekly session is the idea behind this format.

Topics to Include:

*There Is Always Another Way or You're Not Bored Are You?
*What Is Tone Color? or How To Avoid 'Color Blindness'
* What is Audition Ready? or Squeezing Through the Mouse Hole
*Embouchure and Air, Is It A Good Marriage?
*Articulation or Air-ticulation? That is the Discovery!
*Is a Good Audition Taker a Good Ensemble Player? (psst! not always!)
*Range Building- Muscle or Technique?
*Chamber of Discovery or Little Room of Torture - Your Practice Sessions
*Process, Product and Result or What is Important and Why
* Your Comments, Questions and My Responses To Them
*Expect the Unexpected But Don't Count On It!

In these sessions there will be many practical exercises for you to practice and work with. There will also be weekly 'assignments' for the interested.

I look forward to working with you all this summer and if you are one of the ones who are at a music festival already, feel free to join in. Some of this material may not be covered in your program! Or at the very least it will offer another approach.

'See' you all next week!!

Not Music Does This Make!

2010-06-04T18:16:00.006-04:00

The C.R.A.F.T. of orchestral playing now is:
Consistency Reliability Accuracy Focus Translucent

What about this word translucent? That seems to stick out a bit. How would one go about practicing it? What is meant by translucent here is the ability to blend in with anything so you do not 'disturb' the blend or ensemble. It is the ability of doing what needs to be done and no more than that. No rough edges, no 'risky' chances, and the ability to hide or disguise your weaknesses. It is practical and safe advice if you are a last minute sub for someone on a heavy concert. It might be a somewhat useful strategy for a freelancer as well at times.

Interesting that the uniform of the orchestra is black and white just like a keyboard. And basically a person is auditioning to be a key on the orchestral keyboard.

The orchestral uniform in brass playing right now is getting to be a one size fits all in terms of musical content. To want a uniform sound has its merits but not all music can fit into that confinement. Orchestral players can be so obsessed with evenness of sound they can miss the spirit of the music. Decibel levels are not the only means of color change. The biggest change comes when there is an actual character or frequency change. Then the change is on the level of vibration and sentiment. Finding things on the level of technique only works with a limited part of the human instrument and can never be a replacement for connection to the essence.

Repetition is a very powerful tool. Almost everything has an element of repetition. What is practicing? It is doing things over and over again until it becomes 'second' nature, second nature means it is in our programming and our automatic systems repeat it. BUT, depending on how we practice, we also put our attitudes, emotional states and physical qualities into the programming as well.

Most people have had the experience of reading a book or seeing a movie more than once. Isn't it amazing the things we pick and notice after a second viewing or reading? Same things happen when listening to music over and over again. And with thoughtful practice we can put together and develop other qualities. Even the development of muscular strength happens with repetition. The challenge is to not let the the repeated efforts get so automatic in the practice room that they become unconscious. I know people who are like orchestral excerpt vending machines. Put in a quarter, and out comes a nice prepackaged excerpt. The problem in my view is it can sound stale or out of date meaning past the fresh stage.

Out of date, that is an interesting one. That can get into current fashion, the orchestral uniform of any given era. If a person does want an orchestral job, they need to fit into that uniform. Is it possible to wear the uniform but still put the soul of oneself into it somehow? That would be what I would suggest. Then you don't totally sell your soul.

I can just imagine the great Jedi master Yoda saying, "Good intonation, rhythm and control, not music does this make!" Is the 'Force' with you when you play?

Online Video Master Class University of Manitoba

2010-04-21T17:34:00.029-04:00

In this age of computers, the online video master class has been a reality for a while now. Six years ago, Stewart Smith, who is a low brass teacher at the University of Manitoba in Winnipeg Canada, began 'bringing in' artists to his school via the Internet. It is a wonderful way to bring in, for the students of that school, well known teachers and performers from all over the world and to do it at a very reasonable cost! Even though it is not the same as being with people in the flesh, it certainly has good benefits. The next best thing to being there!

Stewart asked me this past Fall if I would be interested and I was thrilled to participate in this way. Finally, everything worked out and the master class happened on April 10th. I was in my room at my desk and before I knew it, thanks to iChat, I was talking to Stewart and he was introducing me to the audience. There was a good turn out and the age range was from 11 to 55. Teachers, students and parents all in a room with my image on a large screen. It was really a fun and unique experience.

My sound system is not great but it was certainly good enough to hear basic things in the students who played and to get a sense of the audience. Stewart asked if I would play something to start so I played a piece I'm writing called "What in the world am I doing?" inspired by my wife Carol. It was great because I ended up using this phrase every now and then in the master class. The phrase was used as a reminder to not practice without consciously being in it. When we catch ourselves 'grinding the wheels' of our minds and lips, just mindlessly going around and around, it is a great thing to ask, "What in the world am I doing?" to bring us back to listening and being with our activity and to remind ourselves why we are doing what we are doing.

Stewart said everyone enjoyed the class. Four people played and we worked on basic concepts together. I also included the audience by inviting them to join in with some of the exercises.

I want to thank Stewart Smith and his wife Susan for their hospitality, and the University of Manitoba for making it all possible. Plus, a big thank you to the folks that made it possible through their funding.

I am including some pictures Stewart sent me that he took from his angle. The group shot was such a fun concept and the picture says it all.

Maintenance Required

2010-02-22T20:23:00.006-05:00

In this video I speak of the importance of knowing thyself from the stand point of being in touch with your physical playing needs. This video is focusing on the embouchure and what it requires to keep itself in good playing order. This is of course a very individual matter, and from my experience can be extremely different from player to player.

If a player is in touch with the whole of themselves and is a serious practicer, one can see and feel trends of how certain types of playing affects the embouchure. Just like foods that can cause allergic or other wise unpleasant or unhealthy symptoms, so can our practice diet alter the course of what our embouchures can and can not do. To speak of the embouchure without speaking of the air support systems is a bit incomplete. But in my own experience, it is very clear ( most of the time! ) what to practice to change how my embouchure is functioning and to prepare it for very specific tasks. My intention is to have more videos on the first overlay,( which we refer to as the automatic robotic systems of playing ), discussing, demonstrating and offering practical exercises to be experimented with by those who would be interested to take a try.

World Premiere of "Tribute"

2010-02-19T22:43:00.022-05:00

The annual Brass Bash at New England Conservatory is Sunday, February 21st, at 8PM in Jordan Hall. Every year since its conception, at least one of my compositions has been played. The range of pieces is usually limited to trombone choir or large brass ensemble and sometimes brass ensemble with percussion, large antiphonal brass choirs or brass ensemble with a soloist.

This year is different. On the program will be the world premiere of my new piece "Tribute" for trumpet choir. The NEC trumpet class will perform this work with Peter Chapman conducting. Peter asked me to write this piece a few months ago. He was already familiar with a piece I wrote in memory of Armando Ghitalla for his memorial service back in June 2002. So Peter wanted me to write two more pieces inspired by great trumpet players. He suggested Roger Louis Voisin and Adolph "Bud" Herseth.

The work now has three movements each dedicated to one of these players.

Mr. Ghitalla's piece written in 2002 is titled "Inspired Remembrance." The other two movements use the names of the other great trumpeters as the titles.

Each movement has threads of orchestral repertoire that reminds me of each player and I think others would associate these pieces with the artists as well. It is always a joy for me to write about the various musicians who have inspired me over the years and these great trumpet-musician icons surely have been inspirational!

Photos: Armando Ghitalla, Roger Voisin and Adolph Herseth

Back from Eastman School of Music

2010-02-05T00:07:00.016-05:00

I had a wonderful time at Eastman! It was great to feel the history of this famous school and to work with the students. Wonderful facilities all the way around.

The top picture was taken right before I had to leave to go to the airport Thursday evening. It is the Eastman Trombone Choir. We had a very engaging trombone choir session where Mark Kellog participated with the students, which I was very touched by. We did some 'special' tuning and positioned ourselves to play "Onward" from "On With the Battle of Life" and the ending "Wish" part from "Katrina Contemplation and Wish." These two pieces were recorded last January on our Frequency Band CD called "Phoenix."

After we really connected to the "Onward" movement and finished playing it, the room was filled with a sense of a huge ocean of possibilities with the a strong feeling of 'it can be done' to make the most out of our lives. It was breathtaking. I asked the group, "Should we do another piece?" and one young man said, "If it's going to do that again!" So we did get ourselves tuned to play the "Wish" part of "Katrina" and, yes, 'IT' happened again in another way. We all played it from the thoughts of hope to wherever or whomever we felt needed it.

We all were in something together. I gave them a proposition, one that Carol and I always say to people, "Let's start anew trend away from 'digitized manufactured playing' and go for the live spirit of the music as the most important thing. Maybe it will catch on!"

The picture below was when I was warming up before the lecture/recital in Kilbourn Hall. Beautiful Hall with lovely acoustics. The pianist that worked with me was a wonderful DMA student named Matthew Waters. He was very receptive to my concepts and did a terrfic job with two not-so-easy piano parts, "Morning Walk" and "The Song of King David."

The Master Class on Wednesday was very well attended. Several students played individually and then one section played doing excerpts from Mahler's 3rd symphony. I applauded them for their openness and willingness to try some new and different approaches which yielded very tangible results. A wonderful group of students to work with!

I want to thank all who made my trip possible including Jamal Rossi and especially Mark Kellog. Mark studied with me in the BUTI program in 1981 (gulp!) at Tanglewood. He was a gifted high school student and a real gentleman. Twenty-nine years later he is still a marvelous musician and gentleman.

Bravo to Mark and 'Doc' Marcellus for their great work at Eastman and to the students themselves. It was a real joy and honor to work with you all. Thank you and I hope it works out again sometime. BRAVO!

Eastman: Days 3 & 4

2010-02-04T14:25:00.015-05:00

Since my last post it's been really busy! The lecture/recital, teaching and master class went really well. Many people have said they've been inspired which is good to hear! I've been having a great time with everybody too!

Today is really busy also. I've been teaching and have trombone choir soon. Then I go immediately to the airport!

Here's a photo from lunch today. From left to right: Me, Arthur, Cy and McMillan.

I'll write more when I'm back in Boston but now it's back to warming up!

Eastman: Day 2

2010-02-02T17:18:00.023-05:00

Another great day in Rochester and it's not over yet! Lecture/Recital is tonight!

This afternoon was the dress rehearsal for tonight's Lecture/Recital. Here are a few photos from today so far.

Myself and Mark Kellogg in his studio.

In the practice room with my custom 'bent-dent' trombone by Shires. This photo doesn't really show the bent feature very well.
Sorry, Steve! :-)

Painting of Emory Remington.

Now on to serious connecting and tuning for tonight's lecture/recital. More soon.

Eastman: Day 1

2010-02-01T16:30:00.048-05:00

I arrived safely in Rochester last night. It's really great to be here!

Last night, I was met at the airport by Arthur Thovmasian (photo) and McMillan Gaither! That was so nice of them and it was great to meet them! We picked up some food and then I got in some practice before the day ended.

Today I jumped into private lessons (the photo shows a drawing I did for one of the students).

Then I rehearsed with my pianist and Mark Kellogg for the Lecture/Recital tomorrow night! Mark is on the faculty and is such a great guy! We'll be playing my duet for tenor trombones "The Archer" on tomorrow night's program. Here's a photo in the rehearsal room.

Now I'm enjoying a cup of hot water after a nice dinner! :-)

I'll write more about all of this soon but thought some of you might enjoy some photos in the meantime!

Eastman Here I Come!

2010-01-31T15:16:00.036-05:00

I was invited to give a lecture/recital, a master class, work with the trombone choir and teach private lessons at Eastman School of Music. I was happy to say 'yes' and I'm on my way there right now!

Here is my Master Class and
Lecture/Recital schedule

Tuesday, Feb. 2nd, 8PM, Lecture/Recital in Kilbourn Hall

Wednesday, Feb. 3rd, 8:30 PM, Master Class, Room 120

I'm looking forward to meeting everyone there!

Stay tuned for updates!

P.S. Photo in taxi to Logan Airport, Boston.

P.P.S. At Logan. Flight delayed one hour. Update: Make that an hour and a half. :-/

While I'm waiting, here's a bit more about what I'll be doing there! (Right now, I'm sitting in Logan 'resonating' my mouthpiece.)

My my lecture/recital will have a world premiere on it. It's an unaccompanied trombone piece. You can view the program on the Events page of the Air-ev website.

P.P.P.S. Plane landed in Rochester!!

Know Thy Self

2010-01-23T18:40:00.010-05:00

Lots of philosophies and spiritual paths speak of the importance of knowing yourself. This can take a a very long time for some people and can be known in its basic form very soon by some. It is a process and depending on what you want out of life and what you think about what life is, you will find and get to know different aspects of yourself. It is truly a journey.

This of course affects our music making. Let's say all you want is a 'job.' Most conservatory players think that a job means only an orchestra job. So let's say you commit yourself to getting the 'job.' What will you do to get it? How long will you wait to get it? How much will you practice to get it? What sacrifices will you make to get it?

NOTHING could have stopped me from wanting to be in an orchestra when I was growing up. I loved the literature, loved playing in orchestra and loved practicing. But the word 'job' never came into my mind. I wanted to be in what I thought would be a magical environment that dives into the meaning of the music and really works on it until 'IT' happens. I was too young to think about financial security or other 'adult' type things.. I just wanted to be 'IN' the music. I will also admit at that time I enjoyed the support of being recognized for my abilities. Maybe that was young and naive. But that was the state of affairs for me. I realized very early on that this is not always the case for everyone especially when they get a little bit older.

I wrote something in a earlier blog post about the PMMP, the Professional Musicians Manufacturing Plant. Many music conservatories and universities think of themselves that way. College is supposed to help us a get a job after all, right? And train us well to be competitive in the job market, right? In this formula, where does 'REAL' art have a place? Or we could ask what kind of art is employable? Not all art is always marketable. That makes it very interesting and difficult for those people who need art for their own life's nourishment and expression, which is something a 'job' could never satisfy nor money ever buy.

It seems as though the 'artist' type of player needs to develop two arts. One to get a 'job' in today's orchestral requirements, and the second to express other parts of themselves and/or other things. These are VERY, VERY different arts, yet for the serious artist in the making, it is possible. I never thought they were different. That was a rude wake up call when I found out that in many cases they are very different. It is so inspiring to see when they live as one in an artist.

Some teachers are really only interested in the students that will do anything it takes to get an orchestra job. That is not how I am. I want what the person says they want. If they only want to get into an orchestra and the mind set is 'perfect, perfect, perfect,' better to not study with me for I cannot be confined to that narrow bandwidth. That can really be a prison especially if the approach is obsessive with technical details and mostly physical in its orientation. I come from the thought that the human being has a huge spectrum of possibilities and talents. Developing a fine 'machine' is only one aspect.

The question comes down to: "Do you know what you want?" How can that truly be discovered if you do not "Know Thy Self."

Growth Is Not Automatic

2009-11-14T22:56:00.003-05:00

During our physically developing years growth is a very automatic process normally. I remember going to family gatherings and if it had been a year or so since my relatives had seen me last they would say, "Oh my! Have you grown!" But other types of growth are not automatic. The decision or desire to grow as a person or to keep developing as an artist is a choice. It never felt like a choice to me because I was driven to do so, but it still was a choice non the less because I had the option not to keep pursuing it in the way I chose to pursue it.

Here is another video that I think will be a good supplement to my one the other day about self discovery and self expression. No matter what you want to do, you will be confronted with choices and decisions to make. As you recall in my last video, I spoke about the bravery needed to be yourself. This video will elaborate on the previous contemplation.

Self Contemplation: Building the Vehicle for Growth and Self Discovery

2009-11-12T00:04:00.008-05:00

As many of you have figured out, I think it is important to think and contemplate what you want in life and in your art. Not as an end in it self, but to get clearer in your heart and mind what you are after and why you are doing what you are doing. This might not be important to some people. No problem. But to me and others it is a way of keeping on course as well as deepening and developing ourselves and having our art express that urge and need of continuing growth, which eventually becomes a matter of choice to pursue or not.

Fro those who are interested in expanding themselves, their self discovery and the connection-expression process, I offer this short video.

MORE ON PHRASING vertical and horizontal

2009-10-04T22:01:00.009-04:00

To put some more content into this subject of vertical and horizontal aspects of phrasing, I made a couple of videos where I am demonstrating some of the concepts using pieces like Morceau Symphonique and Rochut number 1 and some other melodies you might recognize. It is an intriguing subject, at least for me because it deals with very core laws that govern all of life, at least in some schools of thought. Those magnificent apparent opposites, yin and yang, up and down, valleys and hills, male and female and on and on! Hope these videos help in opening up the territory.

Phrasing 1

Phrasing 2

=

PHRASING the vertical and horizontal

2009-09-26T14:02:00.011-04:00

When you hear the word phrasing, what do you think of? Long lines, where to take a good breath, crescendo- decrescendo and timing, to name a few things that might enter your mind on hearing that word.

To me the structure of the phrasing is determined by the character and spirit of the music. Like anything else, it is easy to play with a method of phrasing that can make our music making sound controlled and well placed. Those are all useful aspects to phrasing. But in the end, if your phrasing has a formula to it that doesn't alter according to the different kinds of music, then that nicely timed, well placed phrasing can sound out of place and not in character with the actual music.

To approach this, let's look at horizontal and vertical. The long linear aspect of the line makes most of us think horizontally, like looking at a horizon. It is broad and covers a lot of space. In music, this long sense of line gives direction, motion and balance to all the up and downs, curves, peaks, valleys and hills in a line. But if we 'flatten' it out too much, we can loose the emotional and character details that create the nuances that identify one kind of phrase from another.

What about a singer? They use words. If you could not hear the diction of the words it would sound muddy and nondescript. As wind players, we think of 'singing' through the horn to help us unify the musical and technical aspects together. But we are not often thinking of the diction and nuances beyond smooth, legato, pretty lines. Certain things a cellist, singer or oboist do in terms of inflections (vertical aspect) are not oftentimes accepted very well by the orchestral trombone community at large, especially with regard to orchestral excerpts.

Listen to people speak. How horizontal is their phrasing in speaking? Listen to instrumentalists. How much vertical nuance is there as compared to the line length (horizontal aspect ) in their phrasing? What about percussionists? Are there different vertical and horizontal phrasing tendencies for different instruments?

What are your tendencies in this area? Listen to others and get a grasp of what is horizontal and vertical in phrasing. Then record yourself and see how balanced your horizontal and vertical aspects are in your phrasing. It is an interesting and rich territory for those who may be interested.

More later...

Another Frequency Band Opportunity

2009-09-17T20:16:00.006-04:00

Many of you are aware that the Frequency Band has a Facebook page that Carol set up some time ago where people can become 'fans' of the Frequency Band and follow its activities. One of the activities that happens quarterly is an opportunity for anyone, anywhere to participate in a worldwide Frequency Band OPT, a special synchronized opportunity to join together with others in sending well being and good wishes to others. Carol has made it easy for anyone to participate with simple steps and a video posted to the Frequency Band's Event page. The Facebook link is: Worldwide Frequency Band OPT (Autumn Event)

OPTs are an important part of the Frequency Band and they started in response to Hurricane Katrina in 2005. Since then, we hold OPTs at various times of the year. We have held them in Boston with several musicians and we also have held them in concerts, including our participation at ETW (Eastern Trombone Workshop) this past spring. It is not a local Boston event, it is for all who would like to participate wherever they may be in the world.

So, if you are on Facebook, you can check it out and RSVP if you would like to participate. Again, you can use the above link to Frequency Band OPT Event Page on Facebook and add yourself as "attending." Also you can go to the Air-ev website which is: Air-ev Audio/Video Page if you are not on Facebook and you will see the video as well. Just scroll down the page and you will see "Unity Born of Humanity" video.

Last time we an excellent turnout of over 50 people from around the world who participated and there looks like there will be a good number this time, too! The world can use as much well being as is possible and here is another option and way to help.

Hope to 'see' you there.

I wish all of you well being and all the best!

Frequency Band and the 9/11 Commemoration in Boston

2009-09-13T22:30:00.005-04:00

The Frequency Band, of which I am co-director with my wife and partner Carol Viera, was very humbled to be asked to play at the Boston 9/11 Commemoration Service held at the State House. What was extra touching for us was the fact that the 9/11 families wanted us back. To me, that says everything. It is a very deep feeling of humanity and service to think we can be a support to their lives in some way through the music.

We started by playing on the lawn in front of the State House for about 15 minutes before the Lt. Governor officially began the ceremony. The pieces we played were: "Onward" from "On With the Battle of Life," "In All Hearts," "Acceptance and Hope" from "On With the Battle of Life," and a new piece I wrote especially for the 9/11 families called "My Love for Thee Will Always Be."

Then the Lt. Governor spoke, after which was the flag raising and lowering to half mast, Taps, the official moment of silence. We were entrusted with breaking the moment of silence, at which point we played "A Prayer for the Dying." Then, there was the reading of the names of the victims read by family members. That is very moving and stirs the emotions in a real and raw way. They were just not names on a page. They were somebody's brother, sister, husband, son, daughter, wife, cousin or in-law.

We played two pieces at the end, while the people were leaving. They were "Unity Born of Humanity" and the ending from "Katrina Contemplation and Wish." All of these pieces, except for "Onward" and "Acceptance and Hope" (which were recorded in 1998 on our "Experiments in Music" CD) were recorded this past January on the CD entitled "Phoenix." I mention this in case people are interested in hearing what music was picked for this solemn and reverent event.

This was not a concert. We believe not all pieces are meant to played at a concert. The pieces we played on this occasion we also have performed in a concert setting (except for "My Love for Thee Will Always Be") but we always prepare the audience in a way that makes them listen beyond "concert ears" or other kinds of judgement, as best as we can. We picked these pieces for this circumstance and the families were very content with our choice and presentation in this very delicate solemn circumstance.

Our hearts go out to the families and we are very touched and filled with thanks that they included us in this so very personal part of their lives.

Legato and Lyrical

2009-09-12T09:44:00.011-04:00

Oftentimes, we equate legato playing with being lyrical or lyrical playing as being legato. It brings up two interesting questions: What is legato? and What is lyrical? Looking at them separately, we can see their differences and their relationship.

Legato is a form of articulation which connects one note to another note as smoothly as possible. Many times I hear trombonists and their legato sounds like a very smooth tenuto. My legato can sound to glissy for some. My feeling is that the music should dictate what kind is used. There is a spectrum of legato just like there is of anything else. The more tenuto style can work very well in early music and playing with other valve instruments like in a brass quintet. The other more liquid form of legato can work beautifully in many solo things of a romantic nature as well as in many big band or jazz type solos.

But what is lyrical? When we see that a song has lyrics in it, we don't think, "Who wrote the legato to this piece?" We see words. Lyrics are words and we associate words in music with vocal productions and singing. Lyrical poetry. Songs can be poems that are sung. Lyrical speaks of a language of emotional content and expression. So what is the language of emotional content in music? It would be inaccurate to say it is legato. Legato is a technical term to describe a form of articulation. It says nothing of emotional content. But could it provide a color and sonic texture that could be supportive to certain types of lyrical natures? Sure.

Now, does something need to be legato to be lyrical? When we think of many songs it is easy to find a number of them sung in a legato manner. But, many are very articulated with a variety of dictions and punctuations that would be far away from what we generally consider to be legato. Think of all the non-legato lyrical aspects of opera to rock and roll and beyond.

The next time you play something that is not marked legato, ask yourself about what you are doing to provide lyrical content to it or if you think the piece calls for some. Making note values longer does not necessarily provide the element or emotional content to make something sound more lyrical. Finding the inner 'poem' of the piece (from your perspective ) is one way to have the music's unwritten but not unfelt lyrics come alive.

Ask yourself.....

2009-09-06T22:49:00.009-04:00

It has been awhile since the Frequency Bone Summer Music Connection. I hope people got something from it. For some people that kind of approach requires too much personal consideration. Well, if one wants to develop skill and depth in anything, how could it not eventually have considerations in it beyond just how to mechanical stuff. BUT! The development of mechanics also takes a lot of consideration, testing, attempts, approaches and reapproaches to finds one's way in it.

Now that school is starting for many people, it is a good time to cast the net of what you want to make of the coming year. Ask yourself:

1. What do I want?
2. What do I need?
3. If I'm not sure, how can I find out?
4. Where do I want my playing to be at at the end of the year?
5. How can I accomplish what I want?
6. Am I being totally honest with myself?

These are good self inquiry questions to help plan your priorities and not waste time. All you have is time and the sands in the hour glass come to an end in all sorts of ways, like the end of a year, semester, month, week or a day. If you ask yourself, "What did I do today?" every night, it will help you stay focused and on target.

Have goals. Short term, mid term and long term. Of course, they can change or become clearer and more specific but start somewhere. Start from wherever you are at.

I will be putting more videos up soon, perhaps one or two a month, so stay tuned. The plan is to get into the overlay system in greater detail and I will be using my horn to bring certain points across in a practical 'hands on' way.

By the way, if you are not starting school this week, I suggest trying these questions anyway. They keep one on their toes and helps the 'taking things for granted attitude' (which can sneak up on us without us knowing it and which we want to stop before it's too late) from 'running the whole show'. Ask yourself this: "Who's in charge of what I say I want?"

More First Overlay Thoughts

2009-07-28T13:19:00.002-04:00

Every time you pick up your instrument you are programing your automatic systems (first overlay). Remember your first overlay, automatic systems are a robotic process. They get programed by your actions, not just physical actions, but your mental and emotional processes as well and repeat them.

For example, if you pick up your instrument and on a regular basis and feel anxiety, frustration, apprehension, or any other kind of thought, like happiness or joyful anticipation, they will become what you automatically think about when you go near or touch the instrument. This happens all of the time in life without our instrument but as a part of living. I remember several years ago I walked past an orchestra tuning. I heard the 'A' from the oboe and the typical little note sequences of people tuning their instruments and I felt the excited anticipation come over me like I would have before a rehearsal or a concert. Of course I was just walking by and not even participating. Pavlov's dog, right? That is the way our systems work.

On the blog post, "More Day 1 of the Frequency Bone Summer Music Connection" dated July 21st, I suggested people try putting an addition to their warm up that included going over the reasons they are in music and reconnecting to their love of music and their instrument, before they play a note. The reason being (besides the ones posted) is to encourage the automatic systems to associate themselves with the instrument as a source of joy, musical connection, an inspiring endeavor, personal expression and so forth.

So when our playing goes through a testing time when things do not feel good or we are in a time of change, reconstruction or slump, it is important to feel our love of music that is independent of the instrument and to remind ourselves why we love our own chosen instrument and to be as patient as we can during this passing phase. Not always easy to do! :-)

Clarification of P.A.T. Concert Video and a bit more...

2009-07-26T18:09:00.004-04:00

I hope everyone who participated in the Frequency Bone Summer Music Connection got something from it. I have heard and Carol has heard from people privately (and on the Facebook "event" page) that they feel it was very useful, helpful and inspiring on many levels for them. Very happy to hear it. Carol and I always say if we can help one person then it is worth it.

Clarification!

A student of mine posted a comment about the P.A.T. concert video and wondered why I was holding my horn the opposite way. Well, I would love to have said that I was experimenting holding it the other way but the truth is the camera that is in my computer takes the videos as if I were looking in the mirror. So now you all know what I look like when I speak to myself while doing the mirror exercise! Anyway, thanks Chris Leone for pointing that out. Leave it to you!

I have other Master Manlon quotes I will be putting out soon. Also, I hope to eventually publish parts of the book "TAC Legend Writings" instead of waiting for the whole thing to be finished. The section from Day 3 where Master Manlon is talking to Julian is a very good look at the overlay system in a practical and integrated way. So keep tuned!

I am still open to those who have questions or would like to share their experiences with this work here on the blog or privately.

REMEMBER, this work will remain on the blog. Several people have written to me saying they plan to take the full 'course' when they have the time. Or a person can do bits at a time. It will be here.

Best endeavors to all!

Day 5 of the Frequency Bone Summer Music Connection, P.A.T. Concert Preparation

2009-07-25T00:12:00.004-04:00

Here it is, our last day of FBSMC already. Today we will be playing our Playing Alone Together concert at 4 PM Boston time. This video is a preparation for this concert as well as having some demonstrations of being free while playing. It is interesting if we feel we cannot be free when playing alone isn't it? Hopefully with the work you have been doing this week you will feel more encouraged to try. Make sure you have looked at the directions for a P.A.T. concert . It is on the blog 2008 postings in February. The 9th of Feb 2008 posting has the directions that we will be following for today's concert. The postings before it, explain the inspiration as to why the concerts started. In most public concerts and movie theaters, there is an announcement to shut off all cell phones and peepers. Well for this concert, make sure to shut off all metronomes, tuners and recording devices! (If you really want to record it, that is ok), but not the other two items! :-) Remember you are playing with others. Mentally acknowledge that fact.

See you at the concert!

TO BE READ AFTER THE CONCERT

Great playing with all of you in the wonderful acoustic of freedom and joy of what we do. We were all in tune if we were in that sentiment.

Remember this will be on the blog and you can look at it any time. If you are really trying to put this into your playing life, it might be a good idea to visit this FBSMC on the blog regularly as your schedule permits. A bit at a time and start with what catches you.

Please feel free to go to the comment section of the blog and share what is happening with your work in this area or ask a question if it comes up. There are NO stupid questions!

I also want to thank my wife Carol, for you see it is because of her encouragement that I actually did this. I mentioned to her on Wednesday the 15th of July, that I thought it would be funny if I had an online music seminar called, "Bolter's Bloginar." I meant it as a joke and she said it sounded like a fun and interesting idea. I said, "Really, you think I should?" She said "Yes, I really mean it." So if you enjoyed this, thank Carol too! She was a great help to me in the course of this week.

As you can see, from the time of the thought of it to it actually getting announced was only 3 days! That is how fast things can happen in that freedom and willingness to put it together. Not all music seminars can be born that quickly! But, thanks to our upfront and ongoing work and technology.....there you have it!

It has been very intense at this end for Carol and me and we are very happy if there are some of you who can benefit from this work. You have all of our encouragement. If we can be of any help in this area, please feel free to ask.

Strength of endeavor to all!

Norman

P.S. Carol and Master Manlon send their best wishes to all!

Frequency Bone Summer Music Connection Day 4, preparing for tomorrow's P.A.T. concert

2009-07-24T20:38:00.011-04:00

Tomorrow is our Playing Alone Together concert. There will be a preparation video ready for you in the morning and we will be starting the concert at 4PM Boston time.

There are a few postings on the blog I suggest you check out tomorrow along with the preparation video. We will follow the basic P.A.T. concert format as outlined on the February 9th, 2008 posting. There are a few other short postings you can also check out: December 31st, 2007, January 2, 2008 and February 1st, 2008. They are not long and not intense reading, I promise! :-) Give yourself a little time to read these, look at the video (that will be posted tomorrow) and prepare for our concert. It is all in the spirit of the original you, your art and unique expression and being "Brave to Be" able to pursue this vitally important undertaking. It can be done. It is not too late or too early to start. Start with where you are at and with what you can do.Whether you are 19 or 90, it is the sentiment that counts.

There are many people around the world now and in the past that have been in touch with their unique selves. This Frequency Bone Summer Music Connection is an encouragement to keep it alive, especially in face of our changing times. Keep up with the times but don't throw out everything for it. Fashions come and go, but that which is real and genuine always IS. You will be able to identify it, if you use your feeling and not get caught off guard by the many cloaks and styles it takes. Remember this simple but profound analogy: H2O is always the same whether it is ice, liquid or gas, it is still H2O. This holds true for that which is harmful and that which is beneficial. Both ends of the spectrum can take on many different forms and it can be difficult at times to decipher what is what. But if you let the balanced duet of your thinking and your feeling 'speak' and communicate with each other, the truth can become clearer. Remember think-feel or feel-think? Do you have a feeling or thought which one you are more prone to? It makes no difference in the end, as long as they can work in partnership.

'See' you at the concert!

More on Day 4 of the Frequency Bone Summer Music Connection

2009-07-24T15:05:00.004-04:00

The "TAC Legend" writing that was picked for today has everything to do with BAVE TO BE. You can read this as it was posted on the blog on March 13, 2008.

Think of the strength we need to get through any tough time. We will always have some difficult times. Because of this, one could ask, "Who has the time to take all this on?" There is so much to deal with just wanting to get employed in the music field, whether you are going for a teaching job, freelancing, instrument repair, manufacturing of instruments, sales, administration, an orchestra player, music therapist, and all the music fields. The answer, in my mind, is to help and insure, in whatever way we can, that the living essence of these fields of music does not die. To remember you have choice and to develop those finer skills, wherever they are in us, that are enriching to our lives and to others.

It takes a kind of bravery to be ourselves. But if we want it strong enough, it will come, if we are on a CONSISTENT path to pursue, find and develop it. That takes a regular, consistent effort, just like developing our first overlay. The machine stuff will only go so far, but the danger is, as is put forth in this Sci-Fi part of TAC Legends, that things can go on for a long time before Nature corrects the course. We all know, from looking at certain environmental issues,that there can be a lot of damage done before measures are taken to set it right, with certain things not being recoverable.

*SNAP!* And it will be ten years from now. So, for those who are interested in this work, start NOW. It will pay off. You never know where your life will lead you until you give it a shot. Be practical, don't be to fast or rash. These concepts can be introduced into your playing slowly. Take the time, but engage in the process, if you are so inclined.

The "TAC Legend Writings" are really two stories in one. This section is 200 hundred years in the future. Master Manlon's appearance is really just under 100 years from now. Some of you might have felt some of this work already? :-) Master Manlon, when seeing that his students feel lost, bored or not knowing what to work on, often says to them, "What have you done with the lessons you've been given?"

Not too much later in this Sci-Fi section, Oscar really starts to break down from this incredible pressure at the Academy of Sonic Sciences. This puts him on the journey to discover his Self and those feelings he had about music, but his circumstances would not let him express them. This is a wild part of the story and gets very involved and would be for some VERY SCI-FI. It is there to demonstrate how different life can really be to what we think it is. Haven't we all experienced some of that already?

BRAVE TO BE YOU and grow from there!

Welcome to Day 4 of the Frequency Bone Summer Music Connection

2009-07-24T09:26:00.004-04:00

Today's topic is BRAVE TO BE. It is so vitally important if one wants to proceed in life and in finding and growing the deeper Art. So, take a deep breath, feel the strength of yourself, shoulders back, chest out and take it into yourself.

Another "TAC Legend" reading. Hang on to your hats, we are taking a trip into the future! Then you can decide how far away this future is.....

Machines, technology, power, they are never bad in themselves. It is the motive behind their use that determines their positive or negative affects. Practicing with a tuning device, metronome, mini disc or audio visual devices can be extremely useful. Back in the day, I used to practice with a cassette recorder or a reel to reel a few times a week. I also used a metronome. Very useful tools. But, if it gets where you are loosing your own sense of trust and find that you can no longer really handle the flexible situation that playing music with others is, that in my humble view is giving up your sensitive machinery and the further development of that machinery and can cause an incredible stiffness and/or stunted growth.

Could you imagine playing a great connected concert where the audience and the musicians were totally absorbed in the music and you went to a tuner and realized that the orchestra's pitch had changed from the first tuning "A" of the oboe? And then be upset?! I have seen this happen. It is called being frozen and academically strangled. In Harry Potter's world this would be referred to as muggle behaviour! (Carol turned me onto this word a few years ago). What if that was supposed to naturally happen? I know for a fact it does. Why, would that not be alright if it organically happened and all the musicians were just going with it? If everyone were truly connected to the essence of the music, the essence would govern all the overlays because at that point the music would be a living thing.

BRAVE TO BE

More Day 3 of the Frequency Bone Summer Music Connection

2009-07-23T16:57:00.004-04:00

Here are some quotes from Master Manlon that are pertinent to today's topic on the overlays.

Our extraordinary physical body ( first overlay) is a universe of trillions of lives working together to serve us.

Ask yourself: "What kind of boss (second overlay) am I to my body, my first overlay automatic systems?"

Remember, there is always a simple and a complex answer to anything.

Knowing what something is about doesn't mean you are connected to it or can relate to it or have even found a way to relate to it.

Breathing is a part of our first overlay. But how we choose to use it is a second overlay process. This second overlay process is easy to see from the example of how we plan a breath in our phrasing. Planning is a second overlay process but the PURPOSE of our planning is a third overlay process at a basic level.

Music can be a powerful and effective tool and medium for transference, if the musician is truly connected to the music's essence and the human acoustic of the listener is in tune with the process (receptive).

We can use color as a technology to help us discover more about ourselves, our environment and how the energy worlds work. But never confuse it, no matter how powerful it feels, with whole art.

It's not about technology or over developing one part. It's about why we do what we do and how it impacts the whole of our art and life.

Without the real human qualities of love, devotion, genuineness, compassion, discovery, soul searching, awe, and other qualities, what will be the nature and quality of our art and/or life?

Each person is the hope. We can all grow. We have a second overlay, choice, that is beyond culture and conditioned responses. Our conditioned or 'fall back' second overlay is now located in our automatic systems (first overlay) and is really status quo agreement masquerading as choice. However, the unconditioned overlay of free choice will be for you to discover or not.

Each of the overlays has its own essence. But you can't talk about one overlay without the resonance of the others 'near by'.

It is important for you to know that Master Manlon always says his thoughts and concepts are "fiction until you prove it otherwise."

These topics, throughout this whole Frequency Bone Summer Music Connection, are quite dense. Please do not feel pressure to get it all right away. That would be impossible, for it is meant for those who are interested, to play, dwell, think, toy with, experiment, experience and grow it. It is an organic process. A whole process for the person to find their way in it. It is not really something to memorize or retain in a file. I believe the best retention comes from the reference of experience and an active relationship with something.

Welcome to Day 3 of the Frequency Bone Summer Music Connection

2009-07-23T00:19:00.003-04:00

Today's topic is the Overlay System. This a big subject and can be a fantastic self diagnostic tool among many other things. So relax, open up your mind and tune in!

Here once again is another reading from "The TAC Legend Writings." Master Manlon shows his skill as a teacher as well as the depth of knowledge he has on the subject of the first overlay of wind playing. Because of the nature of the subject and the amount of it, I was trying to cram a lot into a short period of time, my tempo is quite fast! So, take a few deep breaths, relax, open your mind and fasten your seat belt!

NEWSFLASH!

2009-07-22T14:56:00.003-04:00

Response to a fantastic question!

More Day 2 of the Frequency Bone Summer Music Connection

2009-07-22T11:01:00.004-04:00

Good Idea

A student of mine emailed me and said that he and a friend of his are going to do the Summer Music Connection together. This can have some extra benefit as they can work with the concepts together and certainly be able to see the subjective and objective come alive.

For example: One person could read the preparation questions to the other one and then switch it around. Feelthe difference when reading the questions as opposed to listening to them.

They could try to have a free expression time together. This can be done by taking some uncomplicated duets and playing them in different ways like:
1. Have an agreed upon concept then play the duet. After playing the duet, ask each other were we closer or further away from what we agreed upon.

2. Play a duet just focusing on rhythm, then just focusing on pitch, then just focusing on timbre and see what happens.

3. Listen to the other one read or speak something. Then try to listen to to rhythm, pitch and timbre of the one speaking. Feel what it causes in you when listening to the other one speak or play.

4. Find a tempo and do the 'fruit rhythm' exercise together. You might then want to go and make a mango yogurt shake! :-) I've never had one but they're probably really good. Feel the rhythms when you are doing them and sense the difference in your mind and body during each one.

5. Find a pitch you both can agree upon, and go through the vowels slowly. Get into the resonance of each one and feel the vibrations and overtones they produce. Then you can ask each other which one or ones feel or sit the best with you. Which one felt the best together?

Of course if you are on your own, you can experiment with the rhythms and timbres on your own. You can play a note or sing a note and get into the different vowel resonances. Note for brass players: Depending on the firmness and contour of one's embouchure, the vowels will react differently. The firmer my embouchure gets, not just in the corners, but in the lip area, a more open sounding vowel like a very warm air "aah" sound helps the balances in having a fuller overtone spectrum in the timbre of the tone. In the high range, I will have an "E" sound but also resonate it within a more open sound like "HHEE". This keeps the 'E" sound more open so the higher range doesn't get pinched off. If my embouchure is looser, then it affects the vowel sounds to be more in the "U" spectrum of resonance.

Welcome to Day 2 of the Frequency Bone Summer Music Connection

2009-07-22T00:07:00.004-04:00

Today's topic is Rhythm Pitch and Timbre. Take a deep breath, relax, open your mind and tune in!

Pitch is like super-fast- frequency rhythm. This is easily heard if you can take a pitch and slow the speed of it way down. It is tempo isn't it? And in order to slow it down the 'pitch' goes lower. Through the lowering of pitch we prove that pitch is rhythm or vibration. That is why I called it super-fast rhythm. The acoustical backdrop in which the super-fast rhythm is played into creates the timbre. Have you ever heard timbreless pitch in the physical realms of our hearing? Timbre is the indentification or sonic signature of any shape and its material composition. It gives us a way into the life and feeling of the subjective nature of an object. The next finer level of timbre is in the essence of the person, place or thing that is being used for the acoustical backdrop. This kind of perception of an essence goes beyond our physical hearing into the inner ears of our deep feeling life, our vibrational life. We can see, from looking at rhythm, pitch and timbre in this way, that it is in fact one living life.

Reading from the TAC Legend Writings. Here Master Manlon speaks to his students on tuning with others. There is also a commentary after the reading.